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site sitisish tei we TERT a Pera retererepey site shucseatseet ved! ; ; apeists isle tie) 
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bi ris ati (sisie : : ; ; siripiidlerbieraseiereresereresereaerersicraieiarsrtiste ters : he Sh yehehe pitts 
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so bielertiei adie rare lesereiele oss eres 
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| Banaras Collection of Can- 
~ vases Fail to Command 
Prices. Expected, 


ak 
} Sevenity-nine cisiahos of the gamirable! 
|coHeetion of the late Cyrus J. Lawrence, 
which were sold in Bag! oy Fee Hall e 


{night, with Tho E. Kirby, of 
American Art Ga erica: as auction 
\prought but $49,255. Cia tale ee ae 

that the pictures were sold for hal 
‘real value. Among them was an a 
able Ribot. a very wonderful . little pic-' 
ture, which brought but $1,000. Lt was | 
fbought under the name of ‘Chester.’ 
here were a number of Daumilers in} 
the collectlon—the first to have appeared 
at public nuction here. They had been | 
ljexpected to bring perhaps three times’ 
what was paid for then. The Metro-. 
'nolitan Museum of Art was proud when | 
it secured one example of this great cani- 
caturists work a month ago. 


; Brought Only $75. 


And yet, at the sale last ey a. few |, 
who sat to watch animated bidding when | 
the first Daumier was offered were disap- | 
ointed. It provgh t but $75, and the top|) 
gure of the lot of Daumiers was} 
$2,600, given by Eugene Glaenzer for his | 
“Tes Curieux @ L’Btalage.” Another, “A | 
L’ Hotel Drowot,”’ went to rage W, An) 
Clark for $1,550. % 
Evidence that the modern in art i 
not yet to be appreciated in New York | 
was amply given. A mediocre Millet 
sold recently brought $30,100, while a 
very beautiful Claude onet last Pa) 
created Mttle enthusiasm and sold : 
$3,050 to Mrs. C. A. Van Renae | 
Phe top figure of tne evening was $4,600, 
realized on Monet's “Vetheuit, ae ae 
“Avant ja Course,” Dy Degas, nove 
by “Chester,” brought © $2,800: The}. 
“‘“Puvis de Chavannes” sold. for. $1,850 
to Durand Ruel: B. Boudin’s “View of |! 
| Bordeaux’! for $450 to ‘Chester.” 


pace Paid for Pictures. 


Titles ‘of pictures, names of artists 
jnames of buyers. and the -prices paid | 
jfollow: 
jo Tne: Village of Omar,” Bondier; #0. Me- 
& TERRUENSUD Ourscy tert tae’ s eS RIL wae ene 

‘Wenice,’ Bunce: William. Macbeth. ..7..5¢ 
‘Landscape’? (fan shaped), Pissavo; Durand 
. 
As 


Teele aR OR aS Cae Ne ER oko OT 
‘Street in Cairo,’ ; Bernet “(agent) 
“Gossips, EER Dots OORLEH GS, sick nai anaes 
‘Scene in Holland.’ Ritter; Mrs. M. Robin- 
Brean said tas WoO aE Oe ook aie eer aD Le 
‘Windmill in Holland,’’ Hitehcock: J 
MECIVETINGEG Sissi ata Seite te eres 
t “Fishing. Frazen: J. O. McDermott 
‘Tiger and Bird.’’ Lancon; Pendleton. Bs 
La Spezzia- Wyld; Bernet f(agent).......5:. 
“View. of Dordrecht; Gravesande; J. O. Me- 
PERL AROS RSF ra tah a cannes ota at Mg Bik zg 
i “Streat Scene—Isle of Jersey,’’ Raffaelli: Ry 
DERRPM BE ATO Laas US war A AK a de the eke tee pte Sols 
“The Fonuaiook,: ‘De Nittis: Mrs. Leary. 
f “Tiger. oy. Van Murden- Bi. SRA DADOT A Oice ab aictasees 
“Fithtiog Boats,’’ Monet: W. H, np aie 
tering Port,’’ Faulkner; Pendleton. 
“Hunting. Dogs,’ De Penne; McDermott. 

4 “Spring. Franzen; McDemott...........- 
“Barly Spring,’* Rico; Dr. PL. J, Ottenger.), 
“Head of a age in Large Hat.’ Mary Cas: 

satt; Dur UP Shc) NR PES EE Saeed tne we 

“ Arab’ and #4 Clairin; M¢Dermott..... 
“Marine Moo might,” Mesdag;’ ER Blimen- 

1} pe iit Pace Nee a RG ee ME Se A ee ae 
““Venite,’” Fy Wepkinson Smith; MeDermoatt4 
‘Enfant ‘Tenant Une ,Pommeé,’’ Mary Cas- 
| “sath; Bernet. gett, cha sens SR SESE 
‘Mother and. Child.” Mary Cassatt: Durand 
‘Mother Feeding a china,” Marty Cassatt; 
SPUD SACU SNe ks spe alate Ss yas wie 
“Line Sketches, ” Daumier; 
“Tes Avocats,’’ Daumier: 
F ‘Ne Vous-y  Frottez Pas.” Daumier: S&S, 


O. 


Mreandbach sy LCM a wecseapet rash lads 


eas Aseuing His ’ Case." ‘LDaatmier: 


A ne 
it Ruel. Whe 
a3 Convic- 


bata) aR kee fa's9) 
' My; Chester ...: 
Drouot”; Senator 


f Gree Mciateiiaintite cih 914 31+ h%</5, 0.019) ps 


Curieux xD VEtalage”’; ‘ 


ie igen 

C Zer, pete pedavenhets 
ir, “Wood Nymph”; Mr. 
UO os ac eke enter cneieweaases . 


nvent School’; Mr. 
bce get PNP ole 
Mr. tit a eis 

; Tes 


xr 


The Collection of a Gonnoisseur 


Art Treasures 
Collected by the Late 


Cyrus J. Lawrence, Esq. 


The American Act Galleries 


Madison Square South 
New York 


7Ss,. 


ON VIEW DAY NEERING 
AT THE AMBRICAN Pian shen UC 


MADISON’ SQUARE SOUTH, NEW YORK 
FROM FRIDAY, JANUARY 14rn, 1910 
UNTIL THE DAY OF SALE INCLUSIVE 


ART TREASURES 


COLLECTED BY THE LATE 


GYRUS J. LAWRENCE, ESQ. 


UNRESTRICTED PUBLIC SALE 

AT THE AMERICAN ART GALLERIES 

ON THE AFTERNOONS OF 

FRIDAY ann SATURDAY, JANUARY 21st ann 22D 
AND 
AT MENDELSSOHN HALL 
ON THE 

EVENING OF FRIDAY, JANUARY 21st 


Illustrated Catalogue 


ART TREASURES 


COLLECTED BY THE WELL-KNOWN CONNOISSEUR 
> THE LATE 


CYRUS J. LAWRENCE, ESQ. 


NEW YORK 


THE ENTIRE COLLECTION TO BE SOLD AT UNRESTRICTED 
PUBLIC SALE ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY, OF 
THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK 
1910 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute 
arise between two or more Bidders, the Lot so in dispute shall be 
immediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which 
is merely a nominal or fractionad advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 

3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 

4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the purchaser.’ 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold sub- 
ject to the declaration of the aforesaid expert, he being liable 
to the Owner or Owners thereof. for damage or injury occasioned 
thereby. 

6. To prevent inaccuracy in delivery, and inconvenience in the 
setilement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 

7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 

8. The Undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, 
and although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold themselves 
responsible for the acts and charges of the parties engaged for 
such services. 

Tue AMERICAN ART ASSOCIATION, Manacers 


THOMAS E. KIRBY, Avcrioneerr. 


LIST OF ARTISTS REPRESENTED 


Dawe Ses 

BERCHERE, Nancisse 

Street in Cairo 4 

Halt of a Caravan 54 
BONVIN, Francois Saint 

The Convent School 48 
BOUDIER, E. 

The Village of Ormay 
BOUDIN, Louis Evcéne 

Port of Trouville AT 

Low Tide 49 

On the Beach at Trouville 53 

View of Bordeaux 58 

Village by the River 62 

BUNCE, Witu1am GEpNEY 

Venice 2 
BRIDGMAN, Frepericx A., N. A. 

Scene in Morocco 57 
BROWN, Joun Lewis 

Early at the Covert 40 

The Meet 50 


Chasseurs rf 


CANALETTO, M. 
Piazza Del Popolo, Rome 


CASSATT, Mary 
Head of a Child in Large Hat 
v Enfant Tenant une Pomme 
V Mother and Child 
Mother Feeding a Child 
Ww Caresse Maternelle 
~ Mother in Red Dress, with Child 


~ Au Jardin 


CLAIRIN, Grorces 
Arab and Dogs 


DAUMIER, Honoré 
Line Sketches 
Les Avocats 
Ne Vous-y Frottez Pas 
Les Avocats 
Lawyer Arguing His Case 
Les Piéce de Gonvienon 
Les Avocats 
L’Atelier de l’Artiste 
Le Ventre Législatif 
A l’Hétel Drouot 


Les Curieux a l’Etalage 


DE BELLER, Lion 
Winter 


Catalogue 
No. 


76 


20 
24 
25 
26 
64 
66 


"3 


21 


43 


— 8 =— 


DEGAS, Hitarre Germain Epcar 


Avant la Course 


DE NITTIS, Guiseppe 


The Connoisseur 


DE PENNE, CuHartes OLIviIeRr 
Hunting Dogs 


DUPRE, Victor LEon 


Landscape and River 


FANTIN-LATOUR, Henri 
A Wood Nymph 


FAULKNER, Jouyn, R. S. A. 
Entering Port 


FRANZEN, Aveust 
Fishing 
Spring 

GOLTHAIS, L. 


Summer Landscape 


GRAVESANDE, S. Van Srorm 
View of Dordrecht 


HITCHCOCK, Gerorce 
Windmill in Holland 


JONGKIND, Jonan Bartruoup 
Port of Honfleur, Low Tide 


Catalogue 
No, 


63 


13 


iby 


46 


44, 


16 


sl 


BS 


KAUFFMAN, ANGELICA 
Lady at Her Toilet 


LANCON, Aveust 
Tiger and Bird 


LEPINE, SrTanisias 
In the Park, Paris 
River Scene 


Bassin de la Vilette 


MESDAG, Henprix WILLEM 
Marine Moonlight 


METTLING, Louts 
Gypsy 
MICHETTI, Francesco Paoro 


Watching the Sheep 
The Pet Lamb 


MONET, Cravupe 
Fishing Boats 
Vetheuil, Winter 
Grotte de Port Domois, Belle-Isle, 1886 
Vetheuil, Spring 
Falaises 4 Dieppe, Temps Gris 


PISARRO, Camitue 
Landscape 


Hiver en Pontoise 


Catalogue 
No. 


74 


22 


41 


45 
52 


69 


PUVIS DE CHAVANNES, Pierre 
Mother and Children 


RAFFAELLI, Jean Francors 
Street Scene—Isle of Jersey 
Parisian Rag Pickers 
Dewey Arch, September, 1899 


Place de la Trinité, Paris — 


RIBOT, THtopuLe 
Gossips 


Mignonne 
RICO, Martin 

Early Spring 
RITTER, Lorenz 

Scene in Holland 


SANCHEZ PERRIER, E. 
Street Scene in Alcala 


SISLEY, Atrrep 
Le Quai a Sable 


Vue de Moret sur Loing en Marne 
VAN MUYDEN, Evert 
Tiger 


VAN SCHAICK, 8S. W. 
Head of a Turk 


WYLD, Wit1i1am 
La Spezzia 


Catalogue 
No. 


59 


60 


19 


39 


65 
68 


14 


10 


SALE AT MENDELSSOHN HALL 


FORTIETH STREET, EAST OF BROADWAY 
ON FRIDAY EVENING, JANUARY 21, 1910 


BEGINNING PROMPTLY AT 8.15 O'CLOCK 


S AND PASTELS 


No. 1 
EK. BOUDIER a O , 
Contemporary 


THE VILLAGE OF ORMAY 
Water-Color i 0. We Sumote 


A NARROW lane makes a sudden turn, running between a long 
grey building on one side and a crumbling brownstone wall, 
overtopped with trees, on the other. At the turn a woman 
has stopped to speak to a man in a two-wheeled cart. Beyend 
one catches a view of green hedgerows and fields golden with 
the harvest. 


Signed at the lower right, “ K. Boupter, Ormay, 1875.”° 


Heighi, 6% inches; length, 8% inches. 


At O IN Gee 
| WILLIAM GEDNEY BUNCE 
AMERICAN (1840- ) 


VENICE 


Water-Color Ve sad Worelth : 


THE picture shows a view over the placid waters of the Grand 
Canal, with the red tower of San Giorgio outlined against the 
sky in the distance. A fleet of fishing boats is passing out to 
sea, their sails gay with many colors, which are reflected from 
the bosom of the still waters. The sky is tinged near the 
horizon with theruddy glow of the setting sun, while the 
zenith is still a deep blue. 


Signed at the lower left, ““ W. G. Buncr, Venice, ’90.”’ 


Height, 10 inches; nidih, 7 inches. 


No. 8 


CAMILLE PISARRO 


FRENCH (1810-1903 ) 


LANDSCAPE (FAN-SHAPED) 


Pastel S ' Riad . 


A narrow footpath runs through a small belt of grassy wood- 
land. The time is Autumn, for the trees are already bare of 
leaves, although the underbrush is still in full foliage. <A 
couple of peasant women have stopped to chat in the fore- 
ground, and beyond the trees the roofs of a small village show 
nestling beneath the hillside, which glows purple and green in 


the tints of the dying year. 


Signed at the lower right, “* C. Pisarro.”’ 


Height, 7 inches; nidth, 7 inches. 


f-, 


No. 4 


NARCISSE BERCHERE 
FRENCH (1822- ) 


STREET IN CAIRO 


Water-Color fy 1, ¥ hi 


THE scene shows a narrow entry in a picturesque city of the 
Orient. High walls hem it in on either hand, and a few mer- 
chants have spread their wares in the cool shade it affords. In 
front a short flight of steps leads to a low archway, and a 
door leads into the house on the left. Hanging balconies are 
built out from the walls, and against the blue of a southern 
sky the tower of a minaret stands out white and graceful. 


é 66 + 
Signed at the lower nght, | BERCHERE.”’ 


Height, 12 inches; mwidth, 8% inches. 


No. 5 


THEODULE RIBOT 
- FRENCH (1823-1891) 


GOSSIPS 


Wash Drawing ff Yhuatoo 


THE picture shows the heads of three old women executed in 
wash. One of them with gesticulating hand is relating a 
story to her friend, who stands listening, while the third is 
intently reading a letter. The light falls full upon the face of 
the listener, which stands out in sharp contrast against the 
deep shadows which veil the rest of the picture. 


Signed at the upper lefi, Pa ue Rinot, STS. 


Height, 6 inches , length 72 inches. 


No. 6 
LORENZ RITTER 
GERMAN (Contemporary ) 


SCENE IN HOLLAND 


Water-Color wos Wn. & { sta; a 


THE scene shows the junction of two narrow streets in a 
Dutch town at the head of a bridge. On the wide, ill-paved 
square a small group stands gazing at one of the buildings, a 
lofty, square mansion of red brick, with half-timbered front and 
low, gloomy doorway. ‘To the right other buildings appear, 
and in the distance the squat tower of some public building is 
outlined against a cloudy sky. 


Signed at the lower left, ‘‘ Lorwnz Rrrrer, 1875.”’ 


Height, 11% inches; nidth, 9 inches. 


No. 7 : 
GEORGE HITCHCOCK 6H) 
AMERICAN (1850- ) 


WINDMILL IN HOLLAND 


Water-Color ‘ 0) Wel Sorwactto- 


THE quiet waters of a placid canal curve round a lofty mill 
and lose themselves in the distance. The mill spreads its sails 
boldly against the cloudy sky, its building extending along the 
canal below it. In the distance the red roofs of a small town 
appear with the forms of other mills outlined boldly above it. 


Signed at the lower left, ““G. Hrrcucock.’’ 


Height, 12 inches ; »idth, 9 inches. 


rf)" No. 8 
a AUGUST FRANZEN 
AMERICAN (Contemporary ) 


FISHING 


vec 0. Mw Dermat 


BESIDE a group of low farm buildings a boy is perched in the 
branches of a tree, fishing in a little brook which flows beneath. 
A small, flat-bottomed boat is drawn up beside the bank, in 
which is a basket of food. The coloring of the grass and 
foliage is fresh and green, suggesting early Spring, and the sky 
above is blue and cloudless. 


4. nwes 5 
Signed at the lower left, - Ava. FRanzen.’”’ 


Height, 13% inches; nidth, 8 inches. 


No. 9 
AUGUST LANCON 


FRENCH (Contemporary ) 


TIGER AND BIRD 


Water-Color K Bondtaten 


UNDER the shadow of a wide-spreading tree with low branches 
a tiger has sprung upon a gaily-plumaged parrot, and stops to 
erunch the life out of his victim. His frame is all aquiver 
with the force of his spring as he stands, head down, feet to- 
gether, and tail flicking from side to side. A distant gleam of 
blue sky appears between the branches, and a shaft of sunlight 
strikes the tiger on the shoulder. 


Signed at the lower right, “‘ A. Langon.”’ 


Height, 9% inches ; length, 14 inches. 


al} No. 10 
id WILLIAM WYLD 


ENGLISH (Contemporary ) 


LA SPEZZIA 


Water-Color 4 : re Y wlecee 


In the foreground a group of peasants are standing talking by 
the shore of a placid little lake. On the right a number of 
boats with picturesque lateen sails are drawn up above the 
water’s edge, and behind them a densely wooded hill rises 
sharply, its summit crowned by a building with red roof and 
white walls. In the distance, the lake is surrounded by lofty 
mountains, behind which the sun is setting, tinging the 
clouds with a ruddy glow and leaving the lower slopes in 
semi-obscurity. 


Signed at the lower right, ““ W. Wy.ip, 1873.”’ 


Height, 8% inches; length, 14 inches. 


No. 11 
STORM VAN S. GRAVESANDE 


DUTCH (1841- ) 


VIEW OF DORDRECHT 
Water-Color i 0) We) Danwnctl 


Upon the right the corner of a quay juts out into the river, 
and a cart with two horses stands by the water’s edge. <A 
small steamer laden with cases and barrels is moored alongside 
and the men are ready to unload. Many other barges and 
steamers pass up the broad stream, and on the further bank 
the red roofs of the houses are indicated among the foliage 


of the trees. 
Signed at the loner left, *“Srorm Van GRAVESANDE.’”’ 


Height, 8% inches, iength, 12% inches. 


No. 12 
JEAN FRANCOIS RAFFAELLI 
FRENCH (1845- ) 


STREET SCENE—ISLE OF. JERSEY 


Water-Color as 4, | (, 2 


THE picture shows a narrow lane opening out of a pretty road 
in a Jersey village. A small boy leads a tiny cow by a halter 
and children bowl hoops or walk sedately along. A row of 
small houses with picturesque red roofs stretches to the right, 
and other buildings appear beyond surrounded by gardens and 
shaded by trees. A low hill lies beyond the village, with a 
small wood at the summit. The sky is covered by light, 
vapory clouds, through which appears a patch of watery blue. 


bi 


Signed at the lower left, “‘ F. Rarra®uut.’ 


Height, 9% inches; length, 11 inches. 


5S 2§S. hay Fo # Loo 


No. 18 3 
GIUSEPPE DE NITTIS ™ 
ITALIAN (1846-1884) 


THE CONNOISSEUR 


Water-Color WANA 


In the shade of a long gallery a beau of the early eighteenth 
century stands, his head on one side, gazing at a large picture 
of nymphs and satyrs. He makes a fine figure in his pink silk 
coat and knee breeches, one shapely leg advanced, cane and hat 
in one hand, the other balancing his sword-hiJt. On the right 
is a massive white column, and in the distance shaded windows 
cast shafts of pallid light across the floor. 


<o 4 66 ; ss 
Signed at the lower right, © Dr Nirris, °70. 


Height, 9% inches ; length, 13% inches. 


No. 14 


EVERT VAN MUYDEN 


SWISS (Contemporary ) 


TIGER 


, Water-Color Buy faghas Wtctes 


Own a flat-topped rock in the heart of the jungle lies stretched 
a lordly tiger. The great striped cat lies at ease, his forepaws 
extended, his tail switching lazily to and fro. Something has 
attracted his attention, for he raises his head aloft to gaze 
around with half-open jaws. The light, filtering through the 
interstices of the foliage, ilumines his striking form, showing 


up his contrasting coloring to great effect. 
Signed at the lower right, ““ Evert Van Muypen.”’ 


Height, 10 inches; length, 14 inches. 


— CU 


No. 15 
CLAUDE MONET 
FRENCH (1840- js 


FISHING BOATS 


Wee Pastel Nouba % bicttarderr 


A most unusual Monet; the color scheme being very simple, 
in striking contrast to his usual style. Under a level sky the 
sea stretches, covered with dancing wavelets, to a line of fore- 
shore lying blue in the distance. A small fleet of fishing boats 
is running toward shore in the failing light, their sails show- 
ing dark against the reflections from sea and sky. ‘The clouds 
lie low in a hazy sky, and the color effects are beautifully pro- 
duced in the most simple manner. 


. . Ct an) ss 
Signed at the lower right, — CLaupE Moner. 


Height, 8 inches ; length, 16 inches. 


; 
{- JOHN FAULKNER, R.S.A. 


SCOTCH (Contemporary ) | 


ENTERING PORT 


Water-Color Kt (oe Adar 


THE waters of the channel are lashing themselves against the 
shore under a squally sky, and the fishing boats are running 
for the shore amid the tossing waves. A long stone jetty 
extends beyond the harbor mouth on the left, and in the 
distance the ground swells into rolling hills, showing blue in 
the background. 


Signed at the lower left, ““ Joun Fautxner, R.S.A.”’ 


Height, 10 inches; length, 15 inches. 


No. 17 2 
CHARLES OLIVIER DE PENNE ad ry. 
FRENCH (1831-1897) \ 


HUNTING DOGS 


Water-Color y 4) iro encete 


In the shade of a tree beside a sandy path three fine dogs are 
resting. A pointer sits erect on his haunches, his tongue loll- 
"ing out, his noble eyes gazing round the landscape. A spaniel 
lies fast asleep beside him, and another pointer lies in an atti- 
tude of attention. In the distance a river flows by, and lofty 
trees grow upon the further bank. 


ve : 3 39 
Signed at the lower right, © O. Dr Penne. 


Height, 15 inches; nidth, 11 inches, 


| O : No. 18 
AUGUST FRANZEN 
AMERICAN (Contemporary ) 


SPRING 


Water-Color ‘ 0 ‘ Meum 


Ir is early morning, and in the lowlands the mist is rising gently 
from the ground. It is Springtime, and the vegetation is rich 
and full of moisture. On the right a row of poplars show in 
the picture, and across the meadows a line of buildings gleam 
red and white through the drifting vapor. Tall trees show 
their hazy forms and in the distance wooded hills are faintly 


indicated. 
Signed al the lower right, ““ Auc. Franzen”? 


Height, 11% inches ; length, 17 inches. 


a, 1D nal 


No. 19 
MARTIN RICO 
SPANISH (1850-1908 ) 


EARLY SPRING 


Water-Color Ny (j Onttr 
NAS a 2 


BEsIDE a stretch of placid water a flock of d{facks disport them- 
_ selves, preening their feathers, dabbling among the weeds or 
quacking loudly out of pure enjoyment. The time is early 
Spring, the grassy bank is clad in the brightest of emerald gar- 
ments, and an aged May-tree has put forth great clusters of 
beautiful pink and white blossoms. A little girl in a red skirt, 
her shoulders draped with a black scarf, sits on the ground 
holding a duck, while her little brother looks on in amused 
wonder. ‘The scene extends over a bright landscape to the 
horizon, where a graceful steeple shows blue in the distance, 
indicating a populous town. ‘The sky is a tender blue, in 
which float large masses of pearly white cloud. 


Signed at the lower left, “* Rico.”’ 


Height, 12 inches; length, 18 inches. 


1034, Fel §0 # 4oo (1) 


No. 20 
MARY CASSATT 
AMERICAN (scree ) 


HEAD OF A CHILD IN LARGE HAT 


Pastel 5 Be é 


Tue head and shoulders of a little girl, some four years old, 
shown life-size. A broad white cape edged with fur is indi- 
cated round her shoulders, and a bonnet of the same materials 
covers her head, showing a fringe of brown hair and framing 
a solemn little baby face, bright and rosy, with well-formed 
mouth and large, dark blue eyes, which gaze far out of the 
picture on the right. 


* > 6 s 
Signed at the lower right, ° Mary Cassatr.”’ 


Height, 15% inches; nidth, 14 inches. 


No. 21 
GEORGES CLAIRIN 
; FRENCH (1843- ) 


ARAB AND DOGS 


Fc Water-Color yr 6 ° Ww Dewaatto 


SEATED beside a dais in a richly furnished Oriental apartment 
is an old Arab. In loose trousers of pink silk, a white shirt, 
and having a turban on his head, he holds a-favorite grey- 
hound in his arms, while a black dog of the same species lies 
on the rug beside him. The walls of the room are inlaid with 
tiles and covered with rich blue hangings, and on the dais is a 
camel saddle and ornate trappings in rich cloth of crimson 


and gold. 


Signed at the lower right, ‘“ G. Cuarrin, 1875.”’ 


Height, 15 inches ; length, 21% inches. 


i 
: 


No. 22 
HENDRIK WILLEM MESDAG 
DUTCH (1831-1902) 


MARINE MOONLIGHT 


Water-Color' (Ap J Q 


OvEeR a heaving waste of waters the storm wrack passes 
swiftly before the face of the full moon. Through a rift be- 
tween the clouds her beams fall upon the waves and show a 
small boat pulling bravely toward a vessel in the distance, 
which, with her sails and rigging battered and torn, burns a 
red light as if in need of assistance. In the offing appears the 
faint outline of another vessel, and overhead a couple of gulls 
wing their way toward the scene. 


Signed at the loner left, ““H. W. Mespaa.”’ 


Height, 18 inches ; width, 24 inches. 


No. 28 


FRANCIS HOPKINSON SMITH |. ). 
AMERICAN (1838- __) | 
VENICE 


PS ot: }.0. Wu) Doucet 


A PICTURESQUE view down a placid canal in Venice, the prow 
of a gondola just appearing on the right. Lofty houses rear 
their mighty walls on either side, the green of the shutters and 
the gay colors of the flowers in their window boxes illumining 
the gloomy depths. Two graceful bridges cross the water, 
on which a few loiterers stop to gaze at the familiar scene. 
Overhead the sky is blue with not a cloud floating in its flaw- 


less depths. 
Signed at the lower left, *F, Hopkinson Smitu, Venice, Aua., ’82.”’ 


Height, 23 inches; nidth, 12% inches. 


oo 


No. 24 
MARY CASSATT 
AMERICAN (Contemporary) 


ENFANT TENANT UNE POMME 
Rreoben 505 Pastel Wit y, ; 
A LITTLE girl is seated full-face to the spectator, hélding on her 
knee a rosy-cheeked apple tightly clasped in both little hands. 
She wears a plain dress of light blue with short sleeves. Her 
bright chesnut hair is confined behind her head, her face is 


turned somewhat to the left, and a pair of dark brown eyes 
gaze with a reflective expression into the distance. 


Signed at the lower right, ““ Mary Cassarr.”’ 


Height, 21% inches; nidth, 17 inches. 


No. 25 


MARY CASSATT 
AMERICAN (Contemporary ) 


MOTHER AND CHILD 


Pres lin Joye Pastel 9 l hl 


THE figure of a young woman shown in half-length, standing 
half turned from the spectator, holding a rosy-cheeked child 
who stands close beside her on a table. The woman wears a. 
gown of dark green shot with orange, fitting close around 
throat and wrists. The child is dressed in a long, loose frock 
of dark olive-green. The background shows a graded tone 
of dark red. 


. 66 : bus 
Signed at the lower left, | Mary Cassarr. 


Height, 26% inches; width, 19% inches. 


No. 26 
MARY CASSATT 
AMERICAN (Contemporary) 


MOTHER FEEDING A CHILD 


| Pastel 9 : Z | 


THE picture shows the corner of a table covered with a white 
cloth, on which are ranged a portion of a melon, a plate and a 
glass decanter containing wine. Beside the table is a young 
mother seated in an arm-chair, her elbow supported on its edge, 
her hand holding a glass which she puts to the mouth of the 
flaxen-haired child sitting on her knee. The mother wears a 
loose dress of light green muslin, cut low at the neck and with 
short sleeves, while the child’s little dress shows splashes of 
green, yellow and orange. The black hair and dark complexion 
of the woman is in striking contrast to the light coloring of 
her baby. | 


Signed at the lower left, ““ Mary Cassarr.”’ 


Height, 25 inches ; length, 31 inches. 


HONORE DAUMIER 
FRENCH (1808-1879) 


(Hatract from an Article on Daumier by Mr. Edward Cary, Published 
in “The Scrip,” March, 1906) 


“THe work that Daumier, the caricaturist, did in his youth and carly 
manhood, especially the work of the political satirist and agitator, was 
the best in this line of his long career, and, so far as I can judge, it 
was the best done in France. It was inspired by great fervor of 
conviction; it was rapidly produced, the forge was constantly hot; 
it was most happily studied and rendered with the double joy of sin- 
cere purpose and conscious power and advancement. And when the 
artist turned from the field of political caricature, which the Govern- 
ment made exceedingly difficult to him, his studies of morals and man- 
ners were still marked by the same candour and depth of feeling, by 
broad and humane sympathies, by gentle and even delicate humour and 
by obvious delight of execution. Two things were notably rare, if 
they cannot be said to be really absent from his product, not only in 
this period, but throughout his life. He very seldom drew a beauti- 
ful woman, and when the form, as not infrequently happens, is gracc- 
ful and true, the face is almost uniformly unbeautiful. The other 
missing element is still more curious in a Frenchman addressing him- 
self to the laughter of his countrymen. Daumier, so far as I have 
seen his work, never. seems to care for that particular form of coarse- 
ness which his countrymen have a qucer pride in calling gauloiserie. 
On the other hand, he chose his types among the common people. He 
dealt little with the follies or the vices of the fashionable. He was 
not, indeed, except in politics, a satirist; he was a kindly, amusing 
and amused commentator. Even in his series of Robert Macaire— 
which contributed largely to his contemporary fame, but which seems 
to me not to have been in his heartiest vein, to have been strained and 
bound by a Philippon’s text—he is singularly good-natured; he laughs 
almost as easily at the rascal as at the vanity or greed by which his 
victims gave Robert his hold on them. It is worth noting that Robert 
was not of readily recognised French features; he was given a curious 
face, more suggestive of a Scotch-Irishman than -of a Frenchman, and 
I could name a New York politician, who flourished as late as the 
sixties, who might have posed for Macaire—and would gaily have 


ackuowledged the hkeness. 


“The best lithographic work of Daumier was done previous to 
the period of the second empire, and most of it in the first half of 
the reign of Louis Philippe. Under Napoleon III. political satire was 
sternly repressed or ingeniously turned aside by arts in which the 
patron of Ratapoil was past master. From about 1860, moreover, 
Daumier strove with the utmost earnestness to get free from the task of 
the caricaturist and to enter the field of pure art. For some years he 
ceased to draw for Charivari, and devoted himself mainly to work in 
oils and water-cclors. His production was considerable; it was very 
highly valued by artists; it has steadily advanced in the estimation 
of connoisseurs and, gradually, of dealers, so that the price now com- 
manded by a single canvas would have seemed to the painter a prineely 
income for one of those terribly struggling years; but it did not 
yield bread for his family, and he was forced to take up again the 
weary load cf daily teil with flagging energy, though never unfaith- 
fully to his marveicus gift. The painting reproduced in this number 
of The Scrip, from the collecticn of Mr. Cyrus J. Lawrence, of this 
city, is an excellent example of Daumier’s masterly drawing, of his 
easy and powerful command of characterisation, of his simple and beau- 
tiful composition, and especially of that indefinable, unmistakable 
vitality that burns in his shghtest as in his most finished work. Were 
he known only by one such painting, a careful study of 1t would reveal 
the soul and the hand of a great artist. Such he was held to be by 
those most intimately familiar with him and with his product in his life- 
time, who also were qualified to pass critical judgment upon it and 
upon him. Balzac, a comrade on the audacious staff of La Caricature 
and an art critic in his off hours, remarked, ‘Ce gaillard la, mes en- 
fants, a du Michel-Ange sous la peau.’ Later Daubigny, before the 
cartoons of Raphael at Rome, exclaimed: ‘C’est comme du Daumier.’ 
In the portfolios of Delacroix were found, after his death, careful 
coples of a number of Daumier’s drawings, especially those made from 
subjects furnished by the bathing houses of the Seine, where Daumier 
was in the habit of studying. Finally in the room of Corot, the loving 
and faithful friend of Daumier, to whom he gave a home in his latest: 
years, the only pictures were a portrait of his mother and a painting 
by Daumier. These evidences I pick up here and there in the record 
of a long life; they are eloquent and conclusive. In such company one 
need not fear to admire with unstinted fervor the art of Daumier; in 
the presence of the art itself one cannot easily help it.” 


outlines of various types in the 
advocate walking with his papers 
three sketches of a lawyer’s gestures 


Height, 5 inches; length, 18 inches. 


| e/ | No. 28 


LES AVOCATS 


Colored Print Yur . dinelen 


A LAWYER in his flowing robes is descending the broad stair- 
way in the Palais de Justice. He bears a bulky package of 
documents on his arm, and from his triumphant demeanor has 
just won his case. Another elder man passes him ascending 
the stairs, and turns to gaze after his successful rival, his feat- 
ures wreathed in a sneering smile. 


: “eé . 
Signed at the lower left, H. Daumrer.”’ 


Height, 13% inches ; nidth, 10 inches. 


No. 29 


NE VOUS-¥ FROTTEZ PAS 


ee Lawhcl 


ANOTHER of the famous series of political cartoons by 
Daumier. A stalwart artisan in shirtsleeves and white cap 
takes his stand on a mound inscribed Liberté de la presse, 
and stands gazing defiantly at a municipal magnate, who, 
restrained by two men, threatens him with his umbrella. In 
the corner an old man in uniform is fainting on the ground, 
two figures wearing crowns supporting his head and bringing 
him restoratives in the shape of money bags. Inscribed 
*©20° Dessin de la Lithographic mensuelle (mois de mars).’’ 


Signed at the lower left ‘‘ H. D.”’ 


No. 30 


LES AVOCATS 


Wash Drawing 


another in the Court of Justice. 


Y utand Td 


ANOTHER of the inimita- 
ble sketches of this great 
depicter of Parisian life. 
A couple of lawyers on 
their way to court have 
ran against each other, 
and ceremoniously bow, 
raising their hats high 
from their heads in cour- 
tesy. The bitter sneer on 
the face of him onthe 
right and the condescend- 
ing smile of his learned 
friend mark them as rivals 
in their profession, and 
their politeness as being 


merely a form, which will soon wear off as they oppose one 


Signed at the lower left, “‘ H. Daumier No. 3266.” 


Height, 11% inches; nidth, 9 inches. 


—— 


No. 31 rl Uy 


LAWYER ARGUING HIS CASE 


Wash Drawing Nin ice Aivel 


STANDING at the counsel’s table, resting his hand on the out- 
spread document, a lawyer stands, his right arm outstretched, 
his body bent forward and his face abeam as he argues a fine 
point in his case. The clumsy, knotted fingers, the snuffy 
robe and dirty bib, long, grey locks growing sparsely on his 
head, show that the years he has spent in his profession have 
not raised him very far in it. A man sits in front of him, 
leaning against the table, and in the back of the room a crowd 
of spectators listen to his eloquence. The expression on the 
old man’s face is very fine, and the drawing is spirited. 


Signed on table, “‘H. Daumirr.”’ 


Height, 7 inches; length, 9 inches. 


No. 32 


LES PIECES DE CONVICTION 


Wash Drawing iy) wand - Muth 


BEHIND a table which runs across the picture sit the three 
judges, the one in the centre reading from a document in his. 
hands. On the table are scattered a Bible, various documents 
and ink-wells and the tall cap of one of the judges, who sits. 
with hands clasped before him, staring at the ceiling with an 
expression of boredom. His vis-a-vis rests his chin on _ his 
hand as he gazes thoughtfully into space. On the wall behind 
is a picture of the crucifixion, and on a table in front is a 
blood-stained knife and shirt, the piéces de conviction on 


which the prosecution base their case. 


Signed at the lower left, “‘H. Daumirr.”’ 


Height, 12% inches ; length, 18 inches. 


No. 33 


LES AVOCATS 4 


Wash Drawing os as 


IN a rostrum at one end 
of a spacious hall of jus- 
tice a lawyerwith upraised 
hand and body bent for- 
ward is filling the air with 
his eloquence. A crowd 
of laymen stand round 
bareheaded earnestly lis- 
tening to his words, and 
in the foreground a small 


group of his brothers at 
the bar, in long robes, tall 
hats and white bibs, are 


gathered, criticizing him 


$ 


from the viewpoint of rivals in the profession, some showing 
keen approval, and appreciating the soundness of the advo- 
cates’ argument, and others their disapproval. 


Signed at the lower left, “‘H. Daumtrr.”’ 


Height, 13% inches; nidth, 11% inches. 


+ No. 84 


LATELIER DE L’ARTISTE 


Wash Drawing 4 Uotuiton 
é 


A GRouP of critics are gathered in the studio of an artist and 
are inspecting his latest work. One of them, who has the ap- 
pearance of a connoisseur, sits in a red arm-chair before the 
easel, leans back to get a better view of the work displayed 
to his inspection. His friends crowd round and lean over his 
shoulder, and behind them stands the artist swelling with 
pride as he hears the flattering criticisms of his friends. 


Signed at the lower right, ““ H. Daumrer.”’ 
Height, 12% inches; nidth, 11% inches. 


Purchased from Messrs. Duranp-RvEeEt. 


ay o 


No. 35 


LE VENTRE LEGISLA TS o cbok 


A BITTERLY conceived carricature of the occupants of the min- 
isterial seats in the assembly of 1834. Four tiers of benches 
are occupied by men on whose faces every type of cruelty, 
greed and wickedness are depicted, while on the floor stands a 


-man with a shaggy head of hair and collossal build gazing at 


the assembly. Inscribed ‘‘18° denin de L’ Association Men- 
suelle (moir de Janvier). ”’ 


Signed at the lower right, ““H. Daumtrr.”’ 


| : 4 No. 36 


A L’HOTEL DROUOT 


Oil Pants fa WU. 4. blu 


A PICTURE sale is in progress at the world famous galleries, 
and the auctioneer is descanting on the merits of a canvas, 
which he holds upon the table, supporting the frame with one 
hand while with the other he draws the attention of the spec- 
tators. Surrounding the baize-topped table, the bidders are 
ranged on their wooden chairs, craning forward to get a better 
view or to attract attention to their bid. 


Signed at the lower lefi, *“H. D.’’ 


‘ Height, 9% inches ; nidth, 7 inches. 
Jottier & Co. 


v* 


No. 37 


LES CURIEUX A L’ETALAGE 
Oil Painting ZG 0 


IN a narrow street in Paris an old print seller Ae spread his 
treasures upon the wall of his shop and upon benches placed 
on the sidewalk. A narrow awning protects them somewhat 
from the sun, which streams upon them from above the houses 
on the other side of the way. A motley collection of curiosity 
mongers surrounds the exhibit. A threadbare savant in ill- 
fitting black with an old silk hat perched on the back of ‘his ~ 
head thrusts his bird-like face close to one of the largest, while 
a small child plucks his skirt to hurry him away. A poorly 
clad boy peeps in a large portfolio, and a woman wrapped ina 
heavy cloak throws them a passing glance. The tall buildings 
cut off all view of the sky, save a tiny patch of blue appearing 
over a distant roof. 


Se : ; 6“ ” 
Signed at the lower right, H. D. 


Height, 13 inches; nidth. 9% inches. 


A Re SL er a ca a AS I NN ge ae a ee ee ae 


OIL PAINTINGS 


No. 38 
STANISLAS LEPINE ; 


FRENCH (1836-1892) 


IN THE PARK, ney yy Wh y 
- TZ) 


THE picture shows a corner of the gardens of the Louvre in 
Paris. <A broad graveled walk occupies the foreground of the 
picture, on which people are strolling and children. skipping 
or rolling their hoops, while in the distance a soldier flirts with 
a nursemaid. Another narrower path leads off to the left, 
bordered with grass and gay beds of flowers. At the angles 
formed by the intersection of the roads are statues and large 
urns on graceful pedestals. The green foliage of the trees 
forms a background to the scene, and in the distance the build- 
ings of the Louvre show between the branches. 


. . Com 
Signed at the lower right, © S. Lepinr.”’ 
Height, 6 inches ; length, 9 inches. 


Purchased from Messrs. Duranp-Rvuet,. 


\ ag No. 39 
| E. SANCHEZ PERRIER 
FRENCH ( | -1907) 


STREET SCENE IN wee 


Nideor 


A TYPICAL scene in the little Spanish town made famous in 
song and story. On the left the sandy road is bordered by a 
row of mean houses with steep pitched roofs, all blazing white 
in the rays of a southern sun. In the roadway some fruit 
sellers have pitched their stalls, and sit, each under an umbrella, 
surrounded by their wares. ‘Two donkeys stand patiently in 
the foreground and some chickens search busily for food among 
the stones. Overhead the sky is an intense blue, with one 
fleecy white cloud floating high in the heavens. 


. 5 6c 2 
Signed at the lower right, EK. SANcuEz Perrier, ALcCALA, 7°84.” 


Height, 9% inches ; nidth, 4% inches. 


No. 40 i, 
JOHN LEWIS BROWN | 
FRENCH (1829-1890) 
Pn EARLY AT THE COVERT 


THE sun has scarcely risen above the horizon and is still try- 
ing to pierce the early morning mist, behind whose filmy cur- 
tain it shines like a ball of molten brass. A man and his 
attendant cavalier ride across the centre of the picture, the 
man’s collar turned up about his throat to keep off the chill 
air. A huntsman in scarlet coat mounted on a white horse 
uncovers in salutation to the newcomers, and in the distance a 
man is urging the hounds into the covert with his hat. 


Signed at the lower right, “* Joun Lewis Brown, 1885.” 


Height, 6% inches; length, 8% inches. 


No. 41 


LOUIS METTLING 


+ 
\ : FRENCH (1847-1894) 


THE head and shoulders 
of a young gypsy woman. 
She wears a‘ picturesque 
costume of pink and 
white, trimmed with sil- 
ver and hung with small 
metal buttons. Around 
her throat is a brown 
kerchief, knotted loosely 
and falling upon her 
breast. Her dark hair is 
unbound and falls upon 
her shoulders, framing a 
swarthy face with full 
red lips and dark lustrous 


GeVP SY KC: Mb 


eyes which gaze with a somewhat defiant expression straight 


at the spectator. 


ve ce 
Signed at the lower left, “Mrrriina.’’ 


Height, 9 inches ; nidth, 7 inches. 


No. 42 } 
S. W. VAN SCHAICK 


HEAD OF A oy FF GS, we, 


THE head and shoulders of a noble-faced old musselman. H 
wears a loose, flowing robe of black over a white linen shirt 


open at the neck to show his swarthy chest. On his head is a 
crimson turban and his face is fringed by a tufted grey beard 
and whiskers. His head is slightly raised, his narrow eyes 


looking up out of the picture to the left, whence the light pro- 
ceeds, casting deep shadows on his cheek. 


Signed at the lower left, “Van Scuatck, 1881.” 


Height, 10 inches ; nidth, 8 inches 


nal No. 43 
LEON DE BELLEE 
FRENCH | 


WINTER fe Ye Semel 


THE scene shows the outskirts of a small village, with a road 
running through the centre of the picture, rising gently to the 
crest of a low hill and disappearing beyond. On the right are 
a few houses and their gardens, the trees in which are bared and 
leafless against the sky and in the distance a belt of dark wood- 
land runs in diminishing perspective across the picture. The 
ground is covered with snow, in which a number of chickens 
are scratching for food, while the blue dress of a peasant 
woman makes a vivid note of color against the background of 
white. 


Signed at the lower left, ““ De Briirr, °75.”’ 


Height, 10 inches; nidth, 8 inches. 


No. 44 


HENRI FANTIN-LATOUR | 


FRENCH (1836-1905) 


dA WOOD NYMPH 72. Ibby 


In the deepest hush of twilight, when the sun has already left 
the sky, leaving a beautiful afterglow reflected against the 
heavens, a young maiden reclines on a mossy bank beneath 
the branches of a low spreading tree. Her sole garment is a 
cloak of dark blue, gathered carelessly around her waist, leav- 
ing the upper part of her body bare to the evening breeze. 
Her head is turned toward the dying sun, and her face and 
rounded shoulders glow ruby red as its last warm rays leave a 


lingering caress upon them. 
Signed at the lower left, ““F. T.”’ 


Height, 8 inches; length, 10% inches. 


0) _ No. 45 
FRANCESCO PAOLO MICHETTI 


ITALIAN (1852- ) 


WATCHING THE SHEE 
Ss FD bun 


SEATED on the root of a tree in a pleasant orchard is a yoyfig 
peasant girl in a blue skirt and pink bodice. She talks to a 
companion of her own age, who stands leaning against the 
tree on the other side, a red handkerchief round her neck, 
making a vivid note of color among the green. Deeper in the 
recesses of the trees the white fleeces of a flock of sheep show 
bright by contrast as they go deeper and deeper into the shade. 
The trees beyond form a dense mass against the sky, which 
shines with a rosy light as the setting sun flecks the light 
cloud forms floating in the depths of the blue. 


Signed at the lower left, ““P. Micuertt.”? 


Height, 10 inches; length, 12% inches. 


No. 46 


LEON VICTOR DUPRE 


FRENCH (1816-1879) r 


LANDSCAPE AND RIVER 


THE central part 

the composition is oc- 
cupied by two beau- 
tiful trees whose ver- 
dure-clad branches 
spread themselves in 
graceful fashion 
athwart the sky. On 
the left a country road 
runs to a small white- 
walled cottage in the 
distance beneath the 
Shelter of a thick 
wood. On the right 
a woman watches her 
cows. beneath the 
trees, and the ground 


slopes sharply down to the bank of a peaceful river which 
flows placidly through the landscape to lose itself beneath 


overarching trees in the haze of distance. The setting sun 
shines from behind a bank of clouds near the horizon and the 


sky above is peaceful and serene. 


. ee 
Signed at the lower left, ~ Vicror Dupre.”’ 


Height, 10% inches ; midth, 8 inches. 


No. 47 | 
LOUIS EUGENE BOUDIN 


FRENCH (1824-1898) 


PORT OF TROUVILLE Ye 


THE placid waters of the river glide peacefully across the 
foreground of the picture. In the distance are the broad 
quays and clustered buildings of the town, and on either side 
the shipping lies moored in serried tiers, their masts and 
rigging forming a delicate tracery against the wide expanse of 
sky. A boat rows gently across the river, the only ‘sign of 
life, and overhead the sky is covered by a tumbled mass of 
gray cloud. 


Signed at the lower right, “EK. Bouptn.”’ 
Height, 8 inches; length, 10% inches. 


Purchased from Messrs. Duranp-Rvet. 


HV 
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No. 48 


FRANCOIS SAINT BONVIN 
FRENCH (1817-1888) 


THE CONVENT SCHOOL 
A.M, rove 


THE picture shows the interior of a small schoolroom in a 
French convent. Ranged on low benches round the walls are 
the pupils, little girls in their uniform dress of course brown 
with black cap and apron. All are busy studying their tasks, 
their heads bent, attentive to their books, while one of their 
number stands before the mistress to say her lesson. The 
latter, a chubby nun, sits at a green-covered desk raised some- 
what above the floor, her long pointer leaning against the wall 
convenient to her hand. The room is filled with subdued 
light, which enters through a window high up on the right, 
casting a golden glow upon the fair heads and brown dresses 
of the young children, and illuminating the alphabets and 
texts ranged around the room and casting dark shadows upon 


the plaster of the walls. 
Signed at the lower right, ‘“ F. Bonvin.”’ 
Height, 9 inches; length, 12% inches. 


Cottier & Co. 


laags- abs 750 Bere— 


PD ce a BI Tn i aN a EL ROLE BN Bk 


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No. 49 


LOUIS EUGENE BOUDIN 


FRENCH (1824-1898) 


LOW TIDE ¥¢ thi 


i? THE picture shows the narrow entrance to a small harbor, 
from which the tide has receded, leaving a number of small 
boats high and dry upon the sands. On the left a long jetty, 

| on the end of which is a lighthouse, runs out into the sea, and 


on the right is a broad quay on which a number of people are 
strolling. Beyond the bar is a glimpse of the open sea, smil- 
ing beneath the blue of a Summer sky, and the white sails of 
a few distant boats flash in the sunlight. 


Signed at the lower left, “‘ Bouptn, ’85.”’ 


Height, 9 inches ; length 12% inches. 


| 9, No. 50 
JOHN LEWIS BROWN 


FRENCH (1829-1890) 


THE MEET ff ull 


A BROAD sandy road runs over a stretch of heath, making a 
sweeping curve in the foreground. The hunt has met at this 
spot and the riders are taking a short interval to talk and rest 
before moving off. An officer on a chestnut horse in the fore- 
ground is talking to a tall stout man in pink who stands 
beside him, his groom holding his mount meanwhile. An old 
gentleman sits on his horse just beyond, and the master in a 
short overcoat restrains his nettlesome steed. In the distance 
the hounds frolic around the huntsman’s horse, and the latter 
stands near at hand ina heavy overcoat, lighting his pipe. The 
scene extends over a level stretch of grass to a wood in 
the distance, and overhead the blue sky is covered with 
light clouds. 


Height, 9 inches; length, 12% inches. 


No. 51 


JEAN FRANCOIS RAFFAELLI 


FRENCH (1855- ) 


PARISTAN RAG Bee 7 U fof 


THE time is midwinter, 
and as far as the eye can 
reach the ground is cov- 
ered- with a mantle of 
snow. In the foreground 
of the picture a man and 
woman trudge wearily 
across the scene. They 
are ragpickers and their 
attire denotes the direst 
poverty. The woman 
carries a heavy sack over 
her shoulder, while the 
man walks moodily along, 
his bag as yet unfilled. Behind them a line of trees extend in 
vanishing perspective to the horizon, their leafless twigs form- 
ing a tracery against the wintry sky, and in the distance a 
little house seems to stand upon the brink of a river. 


Signed at the lower left, “‘ J. F. Rarrar.yt.”’ 


Height, 13 inches; nidth, 10% inches. 


() Be No. 52 


FRANCESCO PAOLO MICHETTI 


ITALIAN (1852- _) 


THE PET LAMB Wn Male 


ON a rounded stone by the margin of a small pool a little girl 
stands. She is barefoot and is clad only in a rough skirt and 
chemise. A wall of rock rises abruptly from the water’s edge, 
covered with vines and creeping plants of tender green. <A 
small flock of sheep brouse on the grass above, and one of their 
number, a small lamb, leans far over the edge to drink water 
from the girl’s hand as she leans in easy attitude against the 
rock. The sunlight plays upon the water and the green of the 
creepers, making the depths of the wood behind dark and for- 
bidding by comparison. 


Signed at the upper left, ““ P. Micurrrt, *71.”’ 


Height, 14 inches ; width, 10 inches. 


No. 53 z 
LOUIS EUGENE BOUDIN g 
FRENCH (1824-1898) 


ON THE BEACH AT ae Ce VY, 


THE sketch shows a strip of sandy foreshore at the famous 
watering place, with the placid waters of the channel in the 
distance. An animated group of visitors occupy the fore- 
ground seated on chairs or standing in little groups exchanging 
the gossip of the day. On the right a group of nurses in 
snow-white caps and aprons look after their charges while 
older children play and scamper on the sands. The sky is 
covered with a mantle of grey clouds and in the distance are 
the sails of passing ships. 


Signed at the lower left, LOE Boupine -T1.°’ 


Height, 7 inches ; length, 18 inches. 


No. 54 
NARCISSE BERCHERE 


FRENCH (1822- ) 


HALT OF A CARAVAN 7 ee 


A SMALL caravan, consisting of a few camels and their riders, 
has come to a shallow pool in the desert surrounded by a 
narrow belt of rank grass. The riders have dismounted to fill 
their water-bags, some of them standing knee deep in the cool- 


ing fluid. The camels stand patiently by, a tall negro armed 
with a long spear still bestriding one of them. Beyond the 


pools the desert stretches, a waste of burning sand to the dis- 
tant horizon, ill-defined in the dancing heat haze, Overhead 
the sky is flecked with light clouds and a number of birds are 
flying towards the little group in hopes that they will leave 
some fragments of food behind them. 


Signed at the lower right, ‘“ Brrcuern.”’ 


Height, 10 inches, iength, 17 inches. 


r ay No. 55 


JOHAN BARTHOLD JONGKIND 
DUTCH (1822-1891) / 
PORT OF HONFLEUR, LOW. ye 
- FOO 


On the right of the picture stretches the owt shore uncov- 
ered by the receding tide, which has left a small boat high 
and dry upon the sand. Beyond, the forms of factories and 
warehouses, their smokestacks stabbing the air, extend to a 
lighthouse at the end of the spit, which curves round to 
meet the end of a long jetty on the left, leaving a narrow en- 
trance between them. In the foreground, a large three- 
masted sailing vessel is left stranded by the tide, her sails 
dangling from her upper yards, her tall masts and rigging 
forming graceful patterns against the sky. In the distance a 
small boat passes and the sea extends to the shore line, show- 
ing blue in the distance under a sky which is covered with 
heavy rolling cumuli. 


ys . 66 lord 
Signed at the lower right, | JonakKIND, 1875.7" 


Height, 13 inches; length, 18% inches. 


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No. 56 


STANISLAS LEPINE Q 


FRENCH (1836-1892) 


RIVER SCENE Sp che p 


THE waters of a broad river flow through the picture from the 
left foreground, pass under the arches of a bridge and vanish 
in the dim distance. A broad bank covered with parched 
herbage, up which a woman in red dress and white cap toils 
with a basket of linen, slopes gently on the right to the water’s 
edge, where stand a few boatmen and loiterers. Fine houses 
border the road extending in a curved sweep parallel to the 
river, changing in the distance to tall warehouses and offices. 
On the further bank some lofty chimneys betray the presence 
of factories clustering about the end of the bridge; the sky 
is peaceful and serene, covered with a level bank of light cloud, 
tinged pink in the rays of a declining sun. 


Signed at the lower right, “‘ Lerinr.”’ 


a) 


No. 57 
FREDERICK A. BRIDGMAN, N.A. 
AMERICAN (1847- _) 
SCENE IN MOROCGGT Ab 


Across the front of the picture stretches a sheet of water/the 
remnants of an inundation which has flooded the low-lying 
meadows, and beside which some passersby are trudging. In 
the middle distance the white dome of a small mosque stands 
out against a dark back background of shadowing trees, while 
graceful date palms spread their fanlike branches. In the dis- 
tance the ground rises abruptly into a chain of lofty mountains 
stretching across the picture. The sun is setting in a cloudless 
sky, and the plain is already left in semi-obscurity, while the 
crest of the hills is tinged blood red by his last level rays, and 
are reflected in the mirror-like surface of the water beneath. 


Signed at the lower lefi, “‘ Aux inondes, Juin, 1875, F. A. BripeMan.”’ 


Height, 12 inches; length, 20 inches. 


SOLD: AAA San. 24, 1426, # 126 


No. 58 
LOUIS EUGENE BOUDIN 


FRENCH (1824-1898) 


VIEW OF BORDEAUX vA bf, ie 


A SCENE along the foreshore of the bustling French port. The 
tide is out and a flat stretch of mud is left by the receding 
water. On the left the waters of the Loire stretch, gently 
rippling in the evening light, and a few boats pass and repass 
upon its surface. Many large sailing ships are moored by the 
bank, their masts and cordage forming a delicate fret work 
against the sky, and in the distance the buildings and spires 
of the town stretch across the picture. The time is evening, 
the sun has just set and the touch of his last rays flecks the 
water with crimson and casts a roseate glow over the thin 
mantle of grey cloud which covers the sky. 


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Signed at the lower right, — Boupin, Borpraux.’’ 


Height, 12 inches ; length, 18 inches. 


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No. 59 
PIERRE PUVIS DE CHAVANNES 
FRENCH (1824-1898) 


MOTHER AND CHILDREN 
WUnaud hua 


BESIDE the waters of a narrow stream flowing blue and placid 
beneath a sky of flawless azure grow a group of tall trees and 
leafy bushes. On the grass at their roots sits a young woman 
with a naked babe upon her knee, and another older child 
seated before her, offering her some fruit plucked from the 
trees. The mother wears only a loose dress of violet hue, 
drawn off her right shoulder and revealing the soft curve of 
her bust as she offers her breast to the babe. Her auburn hair 
is gathered loosely behind her neck and falls below her 
shoulders. Her left hand caresses a dog and a cradle of rushes 
is on the ground at her feet. Beyond the river the ground is 
laid out in lawns and walks and the houses appéar with white — 
walls and red roofs shining bright in the noonday sun. 


Signed at the lower left, ‘“Puvis pz CHAVANNES.”’ 
Height, 22 inches ; nidth, 18 inches. 


Purchased from Messrs. Duranp-RveEt. 


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| THEODULE RIBOT. 


FRENCH (1823-1891) 


MIGNONNE Y¥f OF 5 


view to the right. He wears a black, sleeveless coat 
white shirt, showing the dark red of an undergarment 


throat. His long flaxen hair falls unrestrained to the s 
framing a pale face with a shapely mouth and wide « O} 
gazing full at the spectator. | 


Purchased from Messrs. Duranp-Rvet. 


( O , No. 61 
STANISLAS LEPINE 
FRENCH (1836-1892) 
BASSIN DE LA ES ae 


THE picture shows the waters of a broad river flowing gently 
to the sea between its crowded banks. On either side broad 
barges and fussing steamboats are moored to the wharfs, their 
masts clean-cut against the sky. Behind them rise the walls 


of great warehouses and office buildings, and in the distance 


the tower of the custom house dominates the scene. A small 
boat, with three occupants pulling across the river, and a 
woman stands upon a barge on the left. Overhead the sky is 
hidden for the most part behind a veil of light cloud; the still 
“waters reflecting the grey of the cloud, forms an occasional 
patch of tender blue. 


Signed at the lower left, ““S. Lepinr.”’ 


Height, 14% inches ; length, 23 inches. 


Purchased from Messrs. Duranp-RvE-. 


Wit . eS - debs % 


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z LOUIS EUGENE BOUDIN 


FRENCH (1824-1898) 
VILLAGE BY THE RIVER y, Y 


THE waters of a peaceful river run right across the foreground ~ 
of the picture, with a rowboat and a barge with two brown 
sails passing gently across the scene, while other craft are 
moored at the water’s edge. Upon the bank is spread the 
panorama of a populous little village, the white walls and blue 
slate roofs reflected from the surface of the water as in a mir- 
ror. Behind the village the ground rises in a long range of 
low hills, clothed with trees for the most part, the fields shin- 
ing golden with the growth of corn. Overhead the sky is cov- 
ered with a heavy stratum of rolling white cloud, between 
which the blue of the heavens appears brilliant and serene. 


Signed at the lower right, “* EK. Bouptn.”’ 


Height, 14 inches; length, 23 inches. 


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HILAIRE GERMAIN EDGAR DEGAS 


FRENCH (1834- ) q) 


é 


AVANT LA nae 4 


THE view shows a glimpse of a sunny heath on which some 
race-horses are lined up to face the starter. ‘The different 
characteristics of the animals has been excellently depicted, 
one of them standing quietly by, his jockey sitting 1mmov- 
able awaiting the fall of the flag, another stretching his neck 
forward with snorting nostrils, others veering off and being 
brought patiently back and back again. The whole scene is 
shown vividly in very few strokes, and Degas’ great gift of 
combining commonplace and even ugly and vulgar details to 


form a pleasing and symmetrical picture is well exemplified. 
Signed at the lower right, ** Deaas.”’ 
Height, 10 inches; length, 13% inches. 


Purchased from Messrs. Duranpv-RvueEt. 


' i, O % No. 64 
tf MARY CASSATT 


Prroveteen Pegs AMERICAN (Contemporary ) 
CARESSE MA Na, 
\ucaud-luel 


THE picture shows the head and shoulders of a young woman 
in a Summer dress of light green with a lace yoke, her brown 
hair drawn tightly back into a knot at the back of her neck. 
Seated on her lap is a child of some three or four summers old, 
her long auburn hair flowing tumultuously upon her shoulders. 
With her chubby hand upraised she pats her mother’s cheek 
in a tender caress as she is clasped close to the maternal bosom. 
The background shows a meadow and orchard clothed in the 
vivid green of its early foliage. 


Signed at the lower right. ““Mary Cassarr.”’ 


Height, 10 inches; length, 13% inches. 


Purchased from Messrs. Duranpv-RveEt. 


% 


No. 65 


ALFRED SISLEY 


FRENCH (1840-1899) 


LE QUAI A SAE” Ue de 


On the right the blue waters of a river run glittering in the 
sunshine. On the left the bank runs, curving gently to the 
right, where it disappears in the middle distance. Boats and 
broad wherries are moored alongside, waiting for their cargoes, 
which are being rapidly loaded from the heaps of sand, ready 
piled upon the shore. The ground slopes sharply up from the 
water’s edge over a grassy terrace to a row of houses stretch- 
ing to the distance. A brickyard and factory with tall chim- 
ney complete the scene, which is alive with busy men passing 
and repassing at their work. The sky is a tender blue flecked 
with a few fleecy clouds floating in mid-heaven. 


” 


Signed at the lower left, “‘ Ststwy, °75. 


Height, 18 inches; length, 21 inches. 


“Ss: ee 


| () No. 66 


MARY CASSATT 


[roorken 3 AMERICAN (Contemporary ) if, toi. . 


MOTHER IN RED DRESS, WITH CHILD 


SEATED before a bureau surmounted by a mirror is a young — 
woman holding a child in her arms. The mother wears a blue 
skirt and red bodice cut somewhat low in the neck. Her 
dark hair is brushed back and pinned in a small knot on the 
top of her head. The child, a chubby little fellow, is nude 
save for a blue ribbon around his neck, and he stands on his 
mother’s lap leaning upon her shoulder, his pudgy hands 
clasped before him and a far-away look in his dark brown eyes. 


Signed at the lower left, ““Mary Cassarr.”’ 


Height, 26% inches; midth, 20 inches. 


ty 


Blea U No. 67 

ne | CLAUDE MONET 
| FRENCH (1840- ) 
VETAREUIL, LL be 


‘THROUGH the centre of the picture deal de a narrffv road, bor- 
dered on the left by a row of trees and a building and a wall. 
On the right the ground slopes to the waters of a shallow 
river flowing placidly between its low banks. Above the 
water the mist hangs heavy,-and the forms of the tall poplars 
can scarcely be seen through the wreaths of vapor. The road 
and river bank are covered with snow, the sky is heavy and 
wintry, and a few frozen figures appear in the middle distance. 
Broad splashes of color on the buildings and trees and 
frozen earth give us the play of light from each substance, 
the pallid touch of a Winter’s sun and the uncertain reflec- 
tion from the broken surface of the snow. 


Signed at the lower left, ““Ctaupe Moner.’’ 


Height, 19% inches; length, 25% inches. 


EN a i OY, A 


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ay No. 68 


. ALFRED SISLEY 


FRENCH (1840-1899) 
VUE DE MORET SUR LOING EN MARNE 


A BROAD, well-travelled road runs throughAhe picture/ from 
the left foreground, bends to the left and disappears in the 
middle distance. On either side a row of tall poplars borders 
the roadway, their bare and leafless branches thrust out boldly 
against the sky. ‘To right and left the ground slopes down- 
ward into marshy meadows evidently flooded in times of 
storm. Parallel to the road on the right runs a narrow, swift- 
flowing river, which loses itself, foaming, beneath the caver-_ 
nous arches of a bridge. On the further bank the houses of 
the small town crowd right up to the water’s edge, dominated 
by the massive walls and slender tower of a large church. The 
sky is covered with a thin veil of cloud, the deep blue of the 
heavens appearing here and there through the rifts. A few 
cows feed in the pasture by the river and some peasants are 
walking along the road. 

Signed at the lower left, “* Ststny.”’ 


Height, 19% inches ; length, 25% inches. 


Purchased from Messrs. Duranp-Rvet. 


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No. 69 

| 0” CAMILLE PISARRO 
(1810-1903) © 
HIVER EN PONTOISE 


THE picture shows a view of a back lane in the little provincial 
town. On the leit rise the plaster-covered walls of a fair-sized 
house and stable, surrounded by a high hedge, above which 
rise the leafless branches of some trees. At the corner, a lamp 
on a wrought-iron bracket projects over the street, and on the 
right a long wall ends in the bare walls of a newly erected 
house. The time is mid-winter, and the ground is thick with 
snow. A passing cart has left deep ruts down the little lane, 
along which a woman in a red cap is picking her way towards 
a couple of men who stand talking at the corner. Between 
the buildings can be seen a haystack and a glimpse of distant 
fields and trees. Overhead the sky is covered by a pall of grey 
cloud, and another fall of snow is not far distant. 


Signed at the lower right, ““C. Pisarro. 1875.” 
Height, 21 inches ; length, 28% inches. 


Purchased from Messrs. Duranp-Ruev. 


era 
ENWSS69 5 


No. 70 
U CLAUDE MONET 
L/ FRENCH (1840- ) 


GROTTE DE PORT DOMOILS. 


BELLE-ISLE, 1886 
Iv bt, Sathyreled) 
SHEER across the painting runs a mass of craggy rock topped 
with a fringe of fresh green grass, its serrated edges standing 
out in jagged outline against the summer sky. The peaceful 
waters of the Harbor wash the foot of the rock, fathoms deep 
to the very edge, the tiny wavelets scintillating in the sun’s 
rays with all the colors of topaz, emerald and the opal, stretch- 
ing to the horizon, unbroken by any sail or passing steamboat. 
Vivid splashes of color painted with free and unhestitating 
brush show us the wondrous effect of the strong sunlight upon 
the face of the rock, split and riven into a myriad facets by 
the weather, and reflecting all the colors of the spectrum from 
every tiny point. The handling of the color points, apparently 
so ceaseless, in reality executed with wonderful precision and 
intimate knowledge of the laws of light, gives evidence of the 
greatest technical skill and the whole effect of the painting is 


complete and satisfying. 
Signed at the loner left, “‘Craupr Monet, °86.”’ 
Height, 26 inches ; length, 32 inches. 


Purchased from Messrs. Durannv-RveE-. 


Mibiteon Gate, WY, feb, 1907 19 Rep au 
: DB Dusen 
Ted 


D AA yerold Sob, Vy, Wpr ad, 1797 ASR 


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| ) J No. ral 
CLAUDE MONET 
FRENCH (1840- i 


VETHEUIL, SPRING 


THE foreground of the picture is occupied by a qwiet river 


flowing placidly by marshy banks fringed by bushy willows. 
Between the branches of the trees the white walls and blue 
roofs of a small village appear stretching across the picture 
from right to left. Beyond the houses the ground rises, slop- 
ing gently to the ridge of a long, low hill, which merges grad- 
ually into the sky line and disappears in the distance. The 
time is early Spring, the trees are still devoid of foliage, but 
the twigs are thick with the new buds about to burst into leaf. 
The sky is a tender blue, hidden behind a veil of misty cloud, 
and the hills are clothing themselves in a mantle of tender 
green, which finds an admirable foil in the browns and purples 
left by departing Winter. The color scheme, tender and sub- 
dued, is repeated in the mirror-like surface of the still water, 


and the whole picture breathes an air of peace and stillness. 
Signed at the lower left, ““ CLaupe Monrr.”’ 


Height, 23 inches; length, 31 inches. 


Soup: AAA, Dan. 24, 1436, #174, REP 


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/ , 8 No. 12 


CLAUDE MONET 


FRENCH (1840- ) 
FALAISES A DIEPPE, TEMPS GRIS 


On the right the serrated escarpment of the cliffs stands out 
bold against the sunlight, diminishing in rapid perspective to 
the middle distance, where a fold of the land indicates the 
presence of a little valley. Beyond the terrain rises abruptly 
into a bold foreland, curving gently to the left, its harsh out- 
lines softened by a veil of mist which shrouds its distant form. 
A narrow strip of sand is washed by the foam of the channel 
rolling inshore in serried breakers. The sun is rapidly dis- 
persing the mist and shines upon the nearer rocks, bringing 
out vividly their play of wondrous colors. The rising vapor 
hides the blue of the sky behind a transparent veil and the 
light is tender and diffused. 


3 A AG . 
Signed at the lower right, © CLaupE Monet, ’82.”’ 


Height, 21 inches; length, 28% inches. 


Purchased from Messrs. Duranp-RvEt. 


Sony: PAD Sau. a9, 1926, # 175; REP 


Sroeren YS 


A 8 . No. 73 


)\ e MARY CASSATT 


AMERICAN (Contemporary ) 


AU JARDIN IA ; A 4 


SEATED on a chair in a verdant garden is a young lady in a 
cool white muslin dress, cut low at the neck and with short 
sleeves. Her dark hair is knotted loosely on her head, show- 
ng the form of a long and slender neck. Before her stands a 
little girl in a loose pink frock, her face framed by her long 
flaxen locks and set off by a broad brimmed hat trimmed with 
black. She has been gathering flowers and has brought them 
to her mother, who holds them in her lap while she fixes one 
in her dress. The background shows a stretch of velvet lawn, 
cut by a winding gravel path, with a background of trees and 
clump of bushes bejeweled with flowers. 


Signed at the lower left, “* Mary Cassarr.”’ 


Height, 26 inches ; length, 32 inches. 


Purchased fiom Messrs, Duranp-Rvev. 


No. 74 
ANGELICA KAUFFMAN 
SWITZERLAND (1741-1807) 
LADY AT HER 04. 


THE picffire Ge an 
alcove in a tall apartment 
with arched doors and 
windows, the opening 
hung with heavy por- 
tieres. A table covered 
with a green cloth and 
surmounted by a mirror 
occupies a central posi- 
tion. Standing by the 
table is a young lady in 
demi-toilette, her dark 
hair clustering in ringlets 
about her forehead, her 


bare arm supporting the 


weight of a grey wrapper. 
Beside her another lady 
resplendent in a dress of green velvet with puffed sleeves and 
elaborately dressed hair is stitching a veil onto a red turban, 
bending intently over her task. A white satin dress lies on the 
table and an open work-box and pair of scissors show that 
dressmaking is in progress. A golden glow pervades the room 
from a window across the corridor and a single shaft of pale 
sunlight enters high up on the left, strikes on the wall and 
illumines the figures of the two women. 


a > 6c = ron 
Signed at the lower right, °° ANGELICA Kaurrman, Rome, 1786.’ 


Height, 23% inches; width, 1634 inches. 


AV 
:) 
\ No. 75 
L. GOLTHAIS 
SUMMER LANDSCAPE 


i 

A Tiny brook runs through the nee channel enh. 
in the friable soil. To right and left trees grow thick in the 
mushy ground, their graceful foliage spread fanlike across the 
sky,white clouds glinting here and there between the branches. 
A young peasant girl stands beside the stream, her arms 
folded, gazing upward at the sky. In the distance the trees 
open out, giving a view of a pleasant meadow sun-lit and 
warm, in which stand two cows, and in the distance more 
woods complete the scene. The sky is covered with a heavy 
rolling cloud with scarcely a patch of blue to be seen. 


Signed at the lower right, ““L. Gouruats.”’ 


Height, 17 inches; length, 24 inches. 


> 


() U : No. 76 
9)  M. CANALETTO 
ITALIAN (1697-1768) 
PIAZZA DEL LOLOL, ae, 


THE great architectural artist leaves his beloved Venje to give 
us a view of one of the poorer quarters of Rome. he broad, 
ill-paved piazza occupies the foreground of the picture, encum- 
bered with the fragments of old-time buildings and busy with 
the forms of passersby. A gilt coach on massive wheels 
drives across the scene, sightseers are seated on the rims, a 
pompous nobleman struts into view and a_heavily-laden 
donkey is making for the entry to a narrow street. In the 
shade of a tall obelisk the waters of a fountain plash into its 
basin and women bring their vessels to the cool depths. On 
the left a row of new houses is approaching completion, 
behind which rises sharply the outlines of one of the seven 
hills. ‘The narrow streets run in long perspective and in the 
distance the massive dome of St. Peters dominates the sur- 
rounding houses. 


Height, 21 inches; length, 32 inches. 


% 
# 
: 
Pd 


oa A No. 77 
We JOHN LEWIS BROWN 


FRENCH (1825-1890) 


CHASSEURS aed Ck 


THE hounds have met on a wide rolling common, crossed by 
a sandy road and swelling on the right into a low hill, crowned 
with trees, and. a small wood grows on the left, The fresh 
green of the leaves, the color of the grass, and the tender blue 
of the cloud-covered sky, show that the time is in the early 
Spring when all nature is young and vigorous. In the fore- 
ground an officer in uniform talks to a scarlet-clad member ot 
of the hunt mounted on a fine grey horse, while a man and a 
woman canter up along the line of the woods. A coach and 
four has driven up and is unloading its occupants, and a whip 
is endeavoring to restrain his unruly pack with the flickering 
lash of his crop. The scene is gay with the colors of the uni- 
forms, and the quick pattering hounds and impatient horses 
give life and movement to the picture. 


: ; 66 ; 
Signed at the lower right, ~~ Joun Lewis Brown.”’ 


Height, 20 inches ; length, 25% inches. 


Purchased from Messrs. Duranp-RuveEt. 


No. 78 
JEAN FRANCOIS RAFFAELLI 
FRENCH (1845- ) 
DEWEY ARCH, SEPTEMBER, 1899 


AN animated scene on Fifth Avenue, painted in the Winter 
of 1899. ‘The ground is covered with snow and the streets are 
alive with hurrying pedestrians, men, women and children, 
while cabs and carriages pass to and fro, adding to the move- 
ment of the picture. On the left rise the white walls of the 
old Fifth Avenue Hotel and on the right are the leafless trees 
of beautiful Madison Square. The centre of the scene is occu- 
pied by the beautiful triumphal arch erected by the genius of 
Stanford White in honor of Admiral Dewey and his brave 
sailors. An avenue of graceful double columns supported by 
statues forms a vista leading the eye to the culminating beauty 
of the arch, its beautiful proportions set off by the superposed 
statue of victory drawn by her prancing horses. Beyond the 
arch, the buildings of Fifth Avenue appear in the distance, 
and overhead the sky is a brilliant blue, in which float a 


few fleecy clouds. 
Signed at the lower right, “* J. F. Rarrantitr, New York, 9 Bre, 99.” 


Height, 25 inches; length, 32 inches. 


No. 79 
JEAN FRANCOIS RAFFAELLI 


FRENCH (1845- ) 
PEACK DE LA TRINITE. be oO, Ly 


THE wide square is alive with a hurrying throng of Parisians‘ 
men, women and children. An elderly couple walk away from 
the spectator near a mendicant with a basket; a woman ina 
brown dress steps off the sidewalk and a group of nurses jostle 
each other in the distance. An omnibus with three horses 
heaves in sight round the corner and various cabs and fiacres 
add to the throng and bustle. The time is late autumn, and 
a few withered leaves still cling to the bare twigs of the trees. 
On the corner to the right a furniture shop displays its goods 
on the sidewalk, to the inconvenience of the traffic, while 
across the street the Eglise de la Trinité raises its ornate 
front, surmounted by its lofty dome and golden cross, while 
the facades of the lofty houses form a fitting background to 
this typical bit of Parisian life. 


Signed at the lower lefi, “J. F. Rarraruut.”’ 


Height, 27% inches; length, 32 inches. 


4 


BEAUTIFUL 
OLD CHINESE PORCELAINS 


A REMARKABLE COLLECTION 
BRONZES AND OTHER WORKS 


ANTOINE LOUIS BARYE 


ENAMELS, GREEK POTTERY 
PERSIAN, RHODIAN AND HISPANO-MORESQUE FAIENCE 


ART FURNITURE AND OTHER OBJECTS OF INTEREST 


+= 


CATALOGUE 
FIRST AFTERNOON’S SALE 
FRIDAY, JANUARY 21, 1910 


AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 2.30 O’cLOCK 


CABINET OBJECTS 


1—Rep LaceuEer Perrume Box 


Decoration of cord and coin designs pencilled in black. 


2—Cinnipar Lacauer PerrumE Box 
Chrysanthemum flowers artistically carved in high relief. 


Diameter, 2% inches. 


3—SMALL JADE ORNAMENT 


Milk-white texture; branch of plum blossoms; carved and un- 
dercut. 


4—Japr Snurr Borrie 


Gourd-shaped; gray texture; symbolical bats carved in relief. 


Has ivory spoon with coral handle. 
Height, 214 inches. 


5—Rock Crystat Barr 


Of exceeding purity; has silver stand. 
Diameter, 2 inches. 


6—Rep Laceuer Perrume Box 


Design of a persimmon, stem and leaves in relief in gold and other 


lacquers. 
Height, 3%, inches. 


Y—Buackx LaceuvEer Inro 


Four sections; decoration of insects, grasses and wild flowers, 
delicately pencilled in gold. Ivord bird-shaped netsuke and 


metal ojimo. 


8—Gotup LaceuEeR Inro 


Ornamented with daimio and other figures, representing a Japan- 
ese historical subject. Has finely carved ivory netsuke of dragon 
design and metal ojimo. 


9—Rocx CrystTaL SEAL 


Cube-shape; surmounted by a fabulous animal, carved in relief 


and undercut. 
Height, 4 inches; 23% inches square. 


10—Coverep Ricr Bow. 
Aventurine lacquer; decorated with the Tycoon’s crest in gold. 


Diameter, 334 inches. 


11—Carvep Ricr Bown 


Japanese woman scrubbing floor. 


12—Carvep Ivory STATUETTE 


Young Japanese lady, signed by Mei-Ichi. 
Height, 6 inches, 


13—Rutoceros Horn Lirsation Cur 


Dragons and archaic designs carved in relief and undercut. Has 


carved teakwood stand. 
Height, 4 inches, 


14—Carvep Ivory SETTER 
Skilfully executed by Fr. Behl, Nuremburg, 1867. 
Height, 2%, inches; length, 5% ‘inches. 


15—Carvep JapE VASE 


Mutton fat texture; lotus-leaf design. Has carved teakwood 
stand. 

Height, 5 inches. 
From the W. C. Oastler Collection. 


16—Wrirer’s Water DisH 


Ch’ien-lung yellow glass. Has carved red and brown lacquer 
stand. 
Diameter, 54%, inches. 


17—JapanrEse Writtne Case 


Aventurine lacquer, with decoration of figures, pine grove and 


other designs in gold lacquer. 
Length, 9 inches; width, 814 inches. 


OLD JAPANESE POTTERY AND PORCELAINS 


18—Oup JAPANESE PottrEry VASE 


Cylindrical shape. Conventional floral decoration in ‘“*dew-drop” 


and other glazes. Has ivory cover. 
Height, 31%, inches. 


19—Otp Sarsuma Bow. 
Coated with a soft ivory-white glaze, delicately decorated with 
rabbits and young bamboo shoots. Signed. 


Diameter, 4%, inches. 


20—AnrtiauE Kioro Bow. 
Decoration of wild flowers and butterflies, pencilled in green, and 


blue enamel and gilding. 


Diameter, 434 inches. 


91—-Antievur AGANo PorTrery Saker Bortrie 


Mottled-brown glaze. Gold lacquer collar. 
Height, 61%, inches. 


92—Oup Raku Bown. 
Outer and inner surface coated with a thick mottled-brown and 


pink glaze. Impressed mark of Raku. Tenth generation of 


Raku, about 1770. 


Diameter, 41, inches. 


23—Oup AwaTA SAKE BoTTLE 


Hexagonal shape, brown crackle texture. Decoration of pine, 
plum in blossom and bamboo, in low tones of green and red. 
Height, 8 inches. 


24—Oxp Bizon Oximono 


Mythological beast. : 
Height, 5%, inches. 


25—ANTIQUE CoREAN JAR 
Oviform; enamelled with a soft ivory-white crackled glaze, over 
which is a decoration of chrysanthemum and leafy scrolls, pen- 


cilled in brown outline. 
Height, 6 inches. 


26—O.p Imart WineE-cup 
Floral medallions and brocade patterns painted in enamel colors 
and blew de nankin. 


27—O.p Kioro Porceiain WInE-cuP 
Chocolate brown glaze, with decoration pencilled in gilding, in 
imitation of gold damascened work. 


28—Otp Imari Sake Botrrie 
Quadrilateral shape; decoration of chrysanthemum and peonies in 
brilliant enamel colors, enhanced by gilding. Has teakwood 


stand. 
Height, 7 inches. 


29—Otp Imari Sake Botrrie 
Quadrilateral shape; decoration of tree peonies, chrysanthemums, 
bamboo and other designs, in underglaze blue, enamel colors and 


gilding. 
Height, 8% inches. 


380—O.p Imari Ovirorm Jar 
Decoration of floral, brocade patterns and crests, painted in un- 
derglaze blue and brilliant enamel colors, enhanced by gilding. 
Height, 12 inches. 


CABINET SPECIMENS OF CHINESE SINGLE COLORS. 


31—Miniature GALiiror 
Of the Ch’ien-lung period (1736-1795). Enamelled with a mot- 


tled glaze known as robin’s egg blue. Has carved teakwood 


stand. 
Height, 3 inches. 


32—MiniaTuRE VASE 
Globular shape; soft paste of the Ch’ien-lung period (1736- 
1795). Coated with a rose soufflé glaze. Has carved teakwood 
stand. 
Height, 2% inches. 


33—MIn1iatTuRE GALLIPOT 


Hard paste, of the Ch’ien-lung period (1736-1795). Invested 
with a pure white glaze of brilliant quality. Has teakwood 


stand. 
Height, 3 inches 


34—WritEr’s WATER JAR 
Semi-globular shape; hard paste of the Ch’ien-lung period (1736- 
1795). Enamelled with a monochrome glaze of the peach-bloom 
type, which is speckled with spots of verdigris green. Has teak- 


wood stand. 
Height, 2 inches. 


35—MIniaTuRE GLOBULAR-SHAPED VASE 
Hard paste of the K’ang-hsi period (1661-1722) ; boldly crackled 
surface, over which is a glaze of translucent green. Six-charac- 
ter mark underneath the foot. Has carved teakwood stand. 


Height, 2 inches. 


36—Sanc pE BoruF GLOBULAR-SHAPED JAR 


Hard paste of the Ch’ien-lung period (1736-1795). Enamelled 
with a monochrome glaze of sang de boeuf type, with pear-skin 
surface. Seal mark underneath the foot. Has carved teakwood 


stand. 
Height, 24%, inches. 


37—MiniaTuRE GALLIPoT 
Of the Ch’ien-lung period (1736-1795). Enamelled with a tea 
color glaze of very fine quality. Has carved teakwook stand. 
| Height, 3 inches. 


38—Wrirer’s Sort-paste Water DisH 
Semi-globular shape; soft-paste of almost egg-shell thinness ; 
covered with a soft glaze of ivory-white tint, and decorated with 
borders incised in the paste. Yung-chéng period (1723-1735). 


Has carved teakwood stand. 
Diameter, 31%, inches. 


389—Sma.u Iron-rust Ovirorm VASE 


Of the Ch’ien-lung period (1736-1795). Invested with an iron- 
rust glaze of exceedingly fine quality. Has carved teakwood 
stand. 


Height, 3 inches. 


40—Smatu GourD-sHAPED VASE 


Hard paste of the Tao-Kuang period (1821-1851). Enamelled 


with rose-pink glaze. Has teakwood stand. | 
Height, 4 inches. 


41—Smatu Borrie-sHaPep VASE 


Of the Ch’ien-lung period (1736-1795). Invested with a mono- 
chrome glaze of camellia-leaf green, applied over a network of 


minute crackle. Has carved teakwood stand. 
Height, 41 inches. 


42--Smatt PEAR-SHAPED VASE 


With wide mouth. White hard paste of the Tao-Kuang period 
(1821-1851). Decoration of twigs of peach fruit, incised in the 


paste. Has teakwood stand. 
Height, 444 inches. 


43—TrA CoLor QUADRILATERAL VASE 
Of the Ch’ien-lung period (1736-1795). Fashioned after an 
ancient Chinese bronze, coated with a tea color glaze of fine 
quality. 
Height, 4% inches. 


44—Smauu Iron-rusrt Borrie-soapep Vase 
Hard paste of the Ch’ien-lung period (1736-1795). Enamelled 
with a brown glaze and speckled with a metallic soufflé to repre- 


sent iron-rust. Has carved teakwood stand. 
Height, 41%, inches. 


45—Smatu Mustrarp-yeLtow Ovirorm VASE 
With flaring mouth. Of the Ch’ien-lung period (1736-1795). 
Enamelled with a monochrome glaze of mustard-yellow applied 
over a minutely crackled surface. Has carved teakwood stand. 
Height, 41, inches. 


46—Sma.yt Ovirorm Vase 
Of graceful shape, with spreading mouth. Hard paste of the 
Cl’ien-lung period (1736-1795). Invested with a camellia-leaf 
green glaze of iridescent quality, applied over a minutely 


crackled surface. Has carved teakwood stand. 
Height, 414, inches. 


4°7—GouRD-SHAPED VASE 
Of cabinet size. Hard paste of the Ch’ien-lung period (1736- 
1795). Coated with a monochrome glaze of the clair de lune 


type. Has carved teakwood stand. 
Height, 434, inches. 


48—Tron-rust GALLIPOT 
Of graceful shape and finished technique. Enamelled with a 
dark brown monochrome glaze; thickly flecked with iridescent 
metallic spots. Ch’ien-lung period (1736-1795). Has carved 
teak stand. 
Height, 434, inches. 


49—Smartut Turauotse-BLUE Ovirorm VASE 


Thin porcelain of the Yung-chéng period (1723-1735). Coated 
with a mottled-blue glaze of turquoise-blue, underneath which is 
a minutely crackled surface. Has teakwood stand. 


Height, 41% inches. 


50—ExauisitrE Pure Wuitr VASE 


Interesting cylindrical bottle shaped, with tubular neck and wide 
flange round the mouth. It is of pure white hard paste of the 


K’ang-hsi period (1661-1722), and covered with a brilliant white 
glaze of exceeding purity. Underneath the foot is a six-char- 
acter mark delicately pencilled in underglaze blue. Has teakwood 
stand. 


Height, 51% inches. 
From Henry G. Marquand Collection. Catalogue No. 326. 


51—Ovirorm CEeLapon Jar 
Of the K’ang-hsi period (1661-1722). It is covered with a net- 


work of brown crackles and invested with a monochrome glaze of 
pale sea-green tint. Has carved teakwood stand. 
Height, 4 inches. 


52—Irnon-znust Fire Bown 


Low, circular shape, with two rudimentary handles. Enamelled 
with a brown glaze; thickly flecked with iridescent metallic spots. 
Ch’ien-lung period (1736-1795). Has teakwood stand. 


Diameter, 5 inches. 


53—Pure Waite GALLIPOT 


Of graceful shape and thin porcelain. Decorated with incised 
bands of archaic and palm-leaf designs, and enamelled with a 
pellucid white glaze. Ch’ien-lung period (1736-1795). Has 
teakwood stand. 

Height, 5 inches. 


54—Corat-REpD VASE 
Melon-shaped. Hard paste of the Ch’ien-lung period (1736- 
1795). Enamelled with a monochrome glaze of coral-red. The 
scalloped lip and inside of mouth is invested with a robin’s egg 
blue crackled glaze. Seal mark underneath the foot. 
Height, 41, inches. 


55—CELADON BorrLE-sHAPED VASE 


Thick porcelain of the K’ang-hsi period (1661-1722). Enamelled 
with a monochrome glaze of sea-green tint, which is marked with 
a bold .brown crackle, which extends over the rim, inside the 
mouth, and invests the base of the foot. Has carved teakwood 
stand. 


Height, 5 inches. 


6h col OL Tt 26 80T SL SOT +9 


56—Surers Pure Wuite Vase 


Globular shaped. Thin porcelain of the Ch’ien-lung period (1736- 
1795). Decoration of peonies amid leafy scrolls, delicately etched 
in the paste, underneath a white glaze of exceeding purity. Has 
carved teakwood stand. 

Height, 31% inches. 


57—YeELLOw GourD-SHAPED VASE 


Of the Ch’ien-lung period (1736-1795). Invested with a mono- 
chrome glaze of burnt-sienna of opaque and brilliant quality. Has 
carved teakwood stand. 

Height, 51%, inches. 


58—Cuarir DE Lunr PEAR-SHAPED VASE 


Of the Yung-Chéng period (1723-1735). Invested with a mono- 
chrome glaze of clair de lune, which is marked with bold brown 
crackle. Seal mark underneath the foot pencilled in cobalt-blue. 
Has teakwood stand. 


Height, 5 inches. 
From Samuel Colman Collection, 


59—PEACH-BLOOM JAR 


Oviform. Pure white hard paste of the K’ang-hsi period (1661- 
1722). Invested with a beautiful glaze characteristic of the cele- 
brated peach-bloom tint. Round the foot, moulded in relief, is 
the conventional chrysanthemum pattern. The mark underneath 
is written in underglaze cobalt-blue. Has carved ivory cover and 
teakwood stand. 


Height, 414, inches. 


60—Caret av Lair GALuiror 


Of the K’ang-hsi period (1661-1722). Invested with a mono- 
chrome glaze of café aw lait, of opaque quality, applied over a 
network of darker brown crackles. Has teakwood stand. 


Height, 5 inches. 


61—CrELApOoN MeEtLon-sHApep VASE 
Thick porcelain of the Ch’ien-lung period (1736-1795). It is 
invested with a pellucid celadon glaze of sea-green tint. Seal 
mark underneath the foot. Has carved teakwood stand. 


Height, 51%, inches. 


62—ORANGE-YELLOW CyLinpRIcAL VAsE : aa 
Dense porcelain of the Ch’ien-lung period (1736-1795). Orna- 
mented with pine tree, plum in blossom and bamboo, carved in high > 
relief in the paste, and invested with a monochrome glaze of 

orange-yellow. — 
Height, 4°, inches. 


63—SvuPrers Crain DE LuNE VAsE 

Graceful oviform, with wide mouth. Pure white hard paste of 
the K’ang-hsi period (1661-1722). The outer and inner sur- 
face invested with a monochrome glaze which is known as “moon- 
light white” or clair de lune, of fine quality. Six-character mark 
underneath the foot, pencilled in underglaze blue. Has carved 


teakwood stand. 
Height, 5 inches. 


64—PEACOCK-BLUE GALLIPOT 
Of the Ch’ien-lung period (1786-1795). Enamelled with a mono- 
chrome glaze of fine peacock-blue, which is applied over a network 


of minute crackle. Has carved teakwood stand. 
Height, 5 inches. 


65—Forr pe Veau Conor Saucer 
White hard paste of the Ch’ien-lung period (1736-1795). Coated 


with a monochrome glaze of foie de veaw color. 
Diameter, 51%, inches. 


66—ImPreERIAL-YELLOW Disu 


Deep circular shape. Thin porcelain of the Tao-Kuang period 
(1821-1851). Enamelled with a monochrome glaze of imperial- 
yellow of iridescent quality; incised decoration of five-clawed 
dragons amid cloud-forms and fire emblems. Seal mark under- 
neath the foot. 


Diameter, 7 inches. 


67—OraANGE-YELLow Fire Bown 
Oblong shape, on base of wave design. Dense porcelain of the 
Tao-Kuang period (1821-1851). Coated with an orange-color 
glaze and decorated in relief with archaic designs. 
Height, 3% inches; length, 8% inches. 


68 


IMPERIAL-YELLOW Bown 


Pure white porcelain of the Tao-Kuang period (1821-1851). 
Invested with imperial-yellow glaze of brilliant quality, and decor- 
ated with two five-clawed dragons amid cloud-forms and fire em- 
blems, pursuing the sacred pearl, etched in the paste. Seal mark 


underneath the foot in cobalt-blue. 
Diameter, 5 inches. 


69—Cuarr pe Lune Botrrur-sHarep VASE 


Thick porcelain of the K’ang-hsi period (1661-1722). Invested 
with a clair de lune glaze of pellucid quality, applied over a sur- 
face marked with bold crackles which are defined by black and 


brown lines. Has carved teakwood stand. 
Height, 51% inches. 


70O—Turevoiske-BLUE BorruE-SHAPED VASE 


Hard paste of the Yung-chéng period (1723-1735). Enamelled 
with a monochrome glaze of turquoise-blue, of opaque and bril- 


lant quality. Has carved teakwood stand. 
Height, 6 inches. 
From the William Man Collection. 


71—Tea-coLor Vase 
Pear shaped, with flaring mouth. Coated with a thick mono- 


chrome glaze of tea-color, and of fine even quality. Ch’ien-lung 


period (1736-1795). Has carved teakwood stand. 
Height, 51% inches. 


72—Poure Wuire Borrie-sHaPep Vase 
With bulbous mouth. Enamelled with a monochrome glaze of 
pure white of brilliant quality. Ch’ien-lung period (1736-1795). 
Has teakwood stand. 
Height, 6% inches. 


73—F.amBeé Borrie-sHaprep VASE 
With bulbous mouth. Thick porcelain of the Ch’ien-lung period 
(1736-1795). Invested with a flambé glaze of red, brown and 


purple tints. Has carved teakwood stand. 
Height, 5%, inches. 


74—CELADON GALLIPOT 


Thick porcelain of the K’ang-hsi period (1661-1722). Enameled 
with a pellucid monochrome glaze of pale sea-green tint, which 
is marked with bold brown crackle and extends over the rim inside 
the mouth and invests the base of the foot. Has teakwood stand. 


Height, 5% inches. 


75—TurQuoOlisE-BLUE PEAR-SHAPED VASE 


Of graceful shape. Thin porcelain of the Ch’ien-lung period 
(1736-1795). Enamelled with a pellucid monochrome glaze of 
turquoise-blue which extends over the rim inside the mouth. Has 


carved teak stand. 
Height, 7 inches. 


76—IMPERIAL-YELLOow VASE 
Bottle shaped. Hard paste of the K’ang-hsi period (1661-1722). 
It is invested with a monochrome glaze of imperial yellow of 
opaque and iridescent quality. Has teakwood stand. 
Height, 6 inches. 


7%{—Fotr pe Borur Borrie-sHAreD VASE 


Clear white hard paste of the Ch’ien-lung period (1736-1795). 
Coated with a monochrome glaze of fote de boeuf color of fine 


quality. Has carved tenknoed stand. 
Height, 61% inches. 
From the A. M. Burrett Collection, 


(8—BrEAvUTIFUL APPLE-GREEN OviFroRM JAR 


Of graceful form, and cabinet size. It is invested with a mono- 
chrome apple-green glaze of brilliant opaque quality, flecked 
with iridescent spots, which has been applied over a crackle sur- 
face. K’ang-hsi period (1661-1722). Has carved teak stand. 


Height, 5%, inches. 


79—SvuPERB ORANGE-YELLOW GOURD-SHAPED VASE 


Of graceful shape and finished technique. Thin porcelain of the 
Ch’ien-lung period (1736-1795). It is enamelled with an orange- 
yellow monochrome glaze of opaque, and brilliant quality. Has 
carved teak stand. 

Height, 7 inches. 


96 


18 


18 OF 82 


68 +6 
P01. 06 


80—Vioter Borrie-sHapep VAsE 
Of the Ch’ien-lung period (1736-1795). Covered with a mono- 
chrome violet glaze of brilliant and lustrous quality. Has carved 


teak stand. 
Height, 6% inches. 


81—Inrerrestinc Lance Yao GALLPor 
Of the K’ang-hsi period (1661-1722). It is invested with a Lang 
Yao glaze, of mottled-red and celadon tints, applied over a net- 
work of brown crackles. The foot is coated with a rice-color 
glaze, characteristic of Lang Yao specimens. Has metal col- 


lars and a carved teakwood stand. 
Height, 5 inches. 


82—Mrrror-Biack Prar-sHAPED VASE 
Thin porcelain of the Ch’ien-lung period (1736-1795). It is 
enamelled with a mirror-black monochrome glaze of very brilliant 


quality. Has teakwood stand. 
Height, 6%, inches. 


83—Rosrn’s-EcG BorriE-sHAPED VASE 


Of the Ch’ien-lung period (1736-1795). Invested with a soufflé 


glaze known as robin’s-egg blue. Has carved teakwood stand. 


Height, 6 inches. 


84—Forr pe Veau Borrrr-sHarep VASE 
Of the Ch’ien-lung period (1736-1795). Coated with a mono- 
chrome glaze of foie de veaw color, which has a pear-skin surface. 


Has carved teakwood stand. 
Height, 744 inches. 


85—InTERESTING ORANGE-YELLOW VASE 
Graceful bottle shape, of cabinet size. Thin porcelain of the 
Ch’ien-lung period (1786-1795). It is covered with an orange- 
yellow monochrome glaze of brilliant opaque quality, and decor- 
_ ated with two bands of Greek fret, which are etched in the paste 
and coated with purple enamel. Has teakwood stand. 
Height, 6 inches. 


-86—Surers PowpERED-BLUE BoTrLE-sHAPED VASE 


Of graceful form. Clear white hard paste of the K’ang-hsi 
period (1661-1722). It is coated with a monochrome glaze, 
known as ‘‘powdered-blue,” of mazarine-blue tint. Has teak- 
wood stand. 

Height, 7/, inches. 


87— INTERESTING APPLE-GREEN GALLIPOT oo 
- Of the K’ang-hsi period (1661-1722). It is invested with an 
-apple-green souffié glaze of lustrous quality. Has carved teak- 


wood stand. 
Height, 51% inches. 


88—Sane bE Borur VAsE 


Graceful bottle shape. Thick porcelain of the K’ang-hsi period 
(1661-1722). The outer surface is invested with a mottled Lang 
Yao red glaze of sang de boeuf tones, which is applied over a 
crackle surface. The foot underneath is coated with a rice-color 


crackle glaze. Has carved teakwood stand. 
Héante 8 inches. 


89-—APPLE-GREEN BoTTLE-SHAPED VASE 


Thin porcelain of the Ch’ien-lung period (1786-1795). Enam- 
elled with an apple-green monochrome glaze of opaque quality 


and iridescent lustre. Has carved teakwood stand. 
Height, 7 inches. 


90—Rare Lane Yao GALLIPOT 


Of the K’ang-hsi period (1661-1722). Enamelled with a mono- 
chrome glaze of the sang de boeuf mottled tints of the celebrated 
Lang Yao porcelains. The neck is defined by a rice-color crackle 
glaze, and the foot by a biscuit edge which encloses a base in- 
vested with a rice-color crackle enamel. Has carved and silver in- 


laid stand. 
Height, 8 inches. 


91—Rare APPLE-GREEN Ovirorm Jar Sit 
Of the K’ang-hsi period (1661-1722). It is invested with a 
monochrome apple-green glaze, which has been applied over a 
surface covered with a network of brown crackles. The lip is 
defined by white rim, and the foot underneath is covered with 

pale celadon crackled glaze. Has carved teakwood stand. 
Height, 5% inches. 


92—Pracock-BLUE BoTrLE-sHAPED VASE 
Thin porcelain of the Yung-chéng period (1723-1735). It is 
coated with a peacock-blue monochrome glaze of brilliant 
quality, which is applied over a surface known as “fish roe” 


crackle. Has carved teakwood stand. 
Height, 7 inches. 


93—Surers Sanco vE Boeur Vase 


Graceful amphora shape, of Lang Yao porcelain of K’ang-hsi 
date (1661-1722). It is invested with a brilhant sang de boeuf 
glaze, displaying the characteristic modelling and play of color. 
The lip is defined by a prominent line of white, and the foot 
underneath is coated with a rice-color crackle glaze. Has carved 


teakwood stand. 
Height, 8%, inches. 


94—Brituiant CAMELLIA-LEAF GREEN VASE 


Graceful bottle-shaped. The surface is entirely covered with a 
network of minute crackle, over which is a monochrome glaze of 
camellia-leaf green. of brilliant quality. Ch’ien-lung period 
(1736-1795). Has carved teakwood stand. 

| Height, 74 inches. 


: 95—Very Fine Care av Lair Vase 

| Cylindrical shape. Dense porcelain of the K’ang-hsi period 
| (1661-1722). The surface is covered with a network of crackles 
defined by brown lines and invested with a monochrome glaze of 
café aw lait color of brilhant quality. Has carved teakwood 
stand. 


Height, 8 inches. 
From the Charles A. Dana Collection, Catalogue No. 209. 


96—Berautirut APPLE-GREEN GALLIPOT 
Of the K’ang-hsi period (1661-1722). It is invested with a fine 
monochrome glaze of apple-green color, of very fine opaque 
quality, which is applied over a surface crackled throughout with 
a network of well defined lines. The foot underneath is coated 
with a green crackle glaze. Has carved teakwood stand. 
Height, 7 inches. 


97—RicE-coLor CRACKLED BoTTLE-sHAPED VASE 
Graceful globular shaped body, with tall tubular neck. It is of 
the K’ang-hsi period (1661-1722), and invested with brown 
crackle glaze of pellucid quality. Has carved teakwood stand. 
Height, 8°4 inches. 


98—BrauTIFUL LEMON-YELLOW JAR 


Graceful oviform. Enamelled with a monochrome glaze of 
lemon-yellow color, of fine opaque quality and brilliant iridescent 


lustre. Has carved teakwood stand. 
Height, 7% inches. 


99—F Lampe Prar-sHaPeD VASE 
Of tall, slender form. Thick porcelain of the Ch’ien-lung period 
(1736-1795). Coated with a flambé glaze of mottled-red and 


purple. Has carved teakwood tripod stand. 
é Height, 1114 inches. 


100—Hexaconat Cretapon VAsE 
Tall shape, with gracefully flaring neck. Thick hard paste of 
the Ch’ien-lung period (1736-1795). Enamelled with a pellucid 
monochrome glaze of pale sea-green tint. Underneath the foot, 
pencilled in underglaze blue, is a seal mark of the period. 
Height, 1114 inches. 


101—F oir pr Borur Vase 


Graceful pear shaped, with flaring mouth. Coated with a mono- 
chrome glaze of foie de boeuf color of even quality and pear- 
skin surface. Underneath the foot seal mark of the Tao-Kuang 
period (1821-1851). Has carved teakwood stand. 


Height, 11 inches. 


102—Tvurevotist PEAR-SHAPED VASE 


Of the Yung-Chéng period (1723-1735). Invested with a tur- 
quoise-blue monochrome glaze, of brilliant opaque quality, ap- 
plied over a minutely crackled surface. Has carved teakwood 


stand. 
‘Height, 12 inches. 


101 


107 


110 


106 


103—Tra-cotor PEAR-SHAPED VASE 


Of the Ch’ien-lung period (1736-1795). The outer surface is 
‘covered with a mottled tea-color glaze of iridescent quality, which 
extends over the lip into the mouth of the vase. 

Height, 12 inches. 


104—F ote pE VEAvu VASE 


Graceful pear shaped. Clear white porcelain of the Ch’ien-lung 
period (1736-1795). Covered with a monochrome glaze of sang 
de poulet of even quality and pear-skin surface. Underneath 
the foot seal mark of the period in underglaze blue. Has carved 
teakwood stand. 

Height, 12 inches. 


105—BeautTiruL TurQvuoisE-BLUE BoTrrTrLE-sHAPED VASE 


Of the Yung-chéng period (1723-1736). It is invested with a 
fine monochrome glaze of turquoise-blue, of exceedingly fine 
opaque and brilliant quality, which is minutely crackled through- 
out with a network of well defined lines. Has carved teakwood 
stand. 


Height, 1414, inches. 


106—Sane pE Pouter PEAR-sHAPED VASE 
Graceful form, with flaring mouth. Hard paste of the Ch’ien- 
lung period (1736-1795). Enamelled with a monochrome glaze 
of sang de poulet. Has carved teakwood stand. 


Height, 114% inches. 


107—Beautirut Lane Yao BorrLe-sHAPeD VASE 
Hard paste of the K’ang-hsi period (1661-1722). The glaze, 
which is of very fine quality, displays the characteristic mottled- 
red tones of ashes of roses and peach bloom, and is applied 
over a network of defined crackles. The foot underneath is in- 
vested with a brown crackle glaze. Has carved teakwood stand. 


Height, 14%, inches. 
From the William Man Collection. 


oe 


108—BeavtTiruL TuRQUOISE-BLUE VASE 


Pear-shaped, with tubular neck and wide mouth. Ch’ien-lung 
period (1736-1795). It is enamelled with a mottled turquoise- 
blue glaze, of opaque and brilliant quality, which extends over 
the lip into the mouth of vase and is applied over a surface 
covered with minute crackles. Has carved teakwood stand. 


Height, 1314 inches, _ 


~109—Hanpsome ORANGE-YELLOW VASE 


Oviform, with tubular neck and flaring mouth. Of the Ch’ien- 
lung period (1736-1795). It is coated with an orange-yellow 
monochrome glaze, of opaque and iridescent quality. Has teak- 
wood stand. 

Height, 14 inches. 


110—Lane Yao Borrie-sHAPeD VASE 


Globular body, with tall, slender tubular neck. It is of the 
K’ang-hsi period (1661-1722), and is invested with the charac- 
teristic mottled-red Lang Yao glaze, which thickens at the foot, 
which is defined by a biscuit edge which encircles a base in- 
vested with a rice-color crackle glaze. Has carved teakwood 
stand. 

Height, 16 inches. 


111—Beavutirut RAvVEN’s-wWING-BLACK BOTTLE-SHAPED VASE 


Globular body, with tall, slender tubular neck. Clear white 
porcelain of the K’ang-hsi period (1661-1722). It is enamelled 
with an intense monochrome glaze of brilliant mirror-black. Has 
teakwood stand. 

Height, 174%, inches. 


112—Rare Sane ve Borur Vase . 
Cylindrical shape, with bulging body and wide mouth. It is of 
the K’ang-hsi period (1661-1722), and is invested with a beau- 
tiful monochrome glaze of the sang de boeuf mottled tints of 
the celebrated Lang Yao porcelains. Has metal collar and 


carved teakwood stand. 
Height, 14 inches. 


LS 9L 99 6L $8 
/6 601 86 


113—Beavtirut ‘TuravoIsE-BLUE VASE 
Noble bottle-shaped, of the Ch’ien-lung period (1736-1795). In- 
vested with a mottled monochrome glaze of turquoise-blue, of 
opaque and iridescent quality, which is applied over a surface 


minutely crackled throughout. 
Height, 171% inches. 


SPECIMENS OF SUNG AND OTHER CHINESE POTTERY 


114—Mriniature Sune Cup 


The inner and outer surface coated with a clair de lune crackle 
glaze. Has teakwood stand. 


115—Mrn1atrvure Sune Koro 


Thick texture. ‘The inner and outer surface covered with a clair 
de lune crackle glaze, with slight markings of purple. Has teak- 
wood stand and cover. 


o 


116—Smatu Sune Jar 


Cone shaped. The outer and inner surface coated with a thick 
glaze of clair de lune color. Carved ivory cover. 


117—Sune Mrintatvre Vase 
Bottle shaped. Coated with a clair de lwne and purple crackle 
glaze. Carved teakwood stand. 
From the E. A. Arbuthnot Collection. 


118—Mine Porrery QuapRILATERAL VASE 


Coated with a mottled-green glaze of fine quality. Has carved 


teakwood stand. 
Height, 4 inches. 


119—Sune Meton-suarep Vase 
Enamelled, with a thick clair de lwne glaze, which is minutely 
crackled and marked with purple. Has carved teakwood stand. 
Height, 3% inches. 


120—Very Fine Sune Bottre 
Globular shape. Coated with a monochrome glaze of clair de 
lune color, which is finely crackled. Has carved teakwood stand. 
Height, 5 inches. 


121—Sune Trreop CEenser 


The outer and inner surface entirely covered with a clair de lune — 


crackle glaze of fine quality. Has carved teakwood stand and 
cover. 
Diameter, 41% inches. 


122—Sune Garuipor 
Of graceful form. Invested with a monochrome glaze of soft 
ivory-white, and minutely crackled throughout with brown de- 
fined lines. Has carved teakwood stand. 


Height, 51%, inches. 
From American Art Association Collection. 


123—MorrLED-BROWN JAR 


Red pottery. Enamelled with a mottled-brown glaze of brilliant 
quality. Has carved teakwood stand and cover. 
Height, 3 inches. 


124—Mine Miniature Pinrertm Borris 


Coated with a thick running glaze of tea-color, and ornamented 
with Chinese characters and seal mark carved in the paste. 


Height, 434 inches. 


125—Mine Porrery Jar 
Enamelled with a mottled and streaked glaze of clair de lune 


type. 
Height, 4 inches. 


126—Hawn Portery VAsE 


Globular shape, with flaring mouth. Coated with a golden and 
silver iridescent and mottled-green glaze. Han Dynasty (202 


Beh. 
Height, 5% inches. 


127—Han Porrery VAsE 


Globular shape, with wide mouth and incised bands, incrusted 
with a silver and green iridescent glaze. 
Height, 634, inches. 


128—Mine Porrery Botrrie 


Tall form. Invested with a mottled blue and purple glaze of 
iridescent quality. 


Height, 8%, inches. 


DECORATED CHINESE PORCELAINS 


129—Ocraconat Rouce Box 
Hard paste of the Ch’ien-lung period (1736-1795). On the 
cover a Chinese domestic and garden scene, with figures delicately 
painted in miniature form in colors of the famille rose. Borders 
of leafy scrolls in underglaze blue, coral-red and gilding. 


Diameter, 21% inches. 
3 2 


130—QuvuaADRILATERAL VASE 


Clear white porcelain of the Cl’ien-lung period (1736-1795). 
Figures, landscape and river view painted in four upright panels 
in brilliant enamel colors. Borders of diaper patterns in brown 
on a blue ground. Permanent stand in imitation of carved stone. 


Height, 314 inches. 


131—GuoBuLar-sHAPeD Box wirH Cover 
Of the Ch’ien-lung period (1736-1795). Decoration of peonies 


amid leafy scrolls pencilled in gold on an apple-green ground. 
Has teakwood stand. 
Diameter, 4 inches. 


132—GLOoBULAR-SHAPED JAR 
Of the Ch’ien-lung period (1736-1795). Enamelled with a bril- 


liant green glaze, over which is a decoration of flowers in blos- 
soms in pink and white enamels, and cloud-forms in black out- 
line. Has teakwood stand. 

Diameter, 4 inches. 


133—ConE-sHAPED VASE 
Clear white hard paste. Decoration of floral sprays and coral- 
red in underglaze blue. Has metal collar and teakwood stand. — 
, Height, 4 inches. 


134—RosrE-waTER SPRINKLER 
Clear white hard paste. Decoration of flowers and leafy scrolls 
pencilled in coral-red, enhanced by gilding. Has carved teak- 


wood stand. 
' Height, 7, inches. 


1385—Ocraconat Bow. 
Thin porcelain of the K’ang-hsi period (1661-1722). Invested 
with a metallic brown glaze and decorated with dragons amid 
cloud-forms in coral-red and white enamel. Border of archaic 
dragons in underglaze blue and inscriptions on corners in white 
reserve. Six-character mark underneath the foot. 


Diameter, 64, inches. 


136—ImreriaL CH’ren-LuNe Bow 
Sonorous porcelain. Centre surface covered with a lemon-yellow 
glaze and richly. decorated with passion flowers and leafy scrolls, 
beautifully painted in brilliant enamel colors. On the inner sur- 
face, the five symbolical bats, pencilled in coral-red. Seal mark 
underneath the foot. 


Diameter, 74, inches. 


1387—Sake Borris 
White hard paste. On a band of coral-red is a decoration of 
peony flowers and leaf designs. Has carved teakwood stand. 
. Height, 434, inches. 


138—O.p Cuinese Disu 
Deep, circular shape. Decoration of floral sprays and plum 
blossoms in brilliant enamel colors, enhanced by gilding. 


Diameter, 84 inches. 


139—BEAKER-SHAPED VASE 
Hard paste of the Tao-Kuang period (1821-1851). Enam- 
elled with a white glaze which is etched with wave designs. 


' Decorated in brilliant enamel colors, with five-clawed dragons, 
fire emblems and the pearl of omnipotence. Has teakwood stand. 
Height, 9%, inches. 


140—Ovirorm Vase 


With spreading base and neck. Clear white porcelain of the 
Yung-chéng period (1723-1735). Decoration of tree peonies, 
magnolia in bloom, and rich plumaged bird, beautifully painted 
in enamel colors of famille rose. Has teakwood stand. 

Height, 93, inches. 


141—OrRANGE-YELLOW VASE 


Pear shaped, with trumpet neck. Enamelled with orange-yellow 
glaze and decorated with plum in blossom, chrysanthemum, bam- 
boo and birds etched in the paste and enamelled in green, purple, 


white and brown. Has teakwood stand. 
Height, 12 inches. 


142—Larer PowpDERED-BLUE VASE 


of the Ch’ien-lung period (1736-1795). Invested with a powder 
glaze of mazarine-blue over which is a decoration in gilding of 
magnolia in blossom, tree peonies and bird. Has teakwood stand. 

Height, 1434 inches. 


SPECIMENS OF CHINESE BLUE AND WHITE 


143—Casinet Size Borris 


Graceful shape. Clear white porcelain of the Ch’ien-lung period 
(1736-1795). Decoration of floral sprays in underglaze blue. 


Has teakwood stand. 
Height, 51 inches. 


144—Sortr Paste Ovirorm VASE 


Of the Ch’ien-lung period (1736-1795). Coated with an ivory- 
white crackle glaze, over which is a decoration in brilliant cobalt- 
blue of tree peonies, rock and butterflies. Has carved teakwood 


stand. 
Height, 51, inches. 


145—Lone Eniza Jar 


Oviform shape, with cover. Clear white hard paste of the K’ang- 
hsi period (1661-1722). The outer surface carved in low relief. 
in design of lotus petals and decorated in underglaze blue with 
figures of “Long Elizas” and floral sprays. Has carved teak- 
wood stand. 

Height, 6 inches. 


146—Guosutar VASE 


Clear white porcelain of the K’ang-hsi period (1661-1722). 
Floral sprays and border of sceptre-heads finely pencilled in un- 
derglaze blue, of opaque quality. Metal collar. Has carved 
teakwood stand. i 
Height, 4 inches. 


147—RoskE-wATER SPRINKLER 


Clear white porcelain of the K’ang-hsi period (1661-1722). 
Medallions of flowers and leafy scroll, and a band of palmettes 
painted under the glaze in brilliant cobalt-blue. Has carved 
teakwood stand. 

Height, 634 inches. 


148—GraceruL BoTrLE-sHAPED VASE 


Clear white hard paste of the K’ang-hsi period (1661- 1792), ; 
Decoration of wave design, dragon and fire emblems painted in 


underglaze blue and rouge de fer. Has carved teakwood stand. 
Height, 734 inches. 


149—Buver-AND-wHITE BotrrLE-sHAPED VASE 


Clear white porcelain of the K’ang-hsi period (1661- LiQa 
Decoration of plum in blossom, beautifully painted in two shades 
of underglaze blue, of brilliant quality. Has carved teakwood 
stand. 
Height, 5%4 inches. 


150—SLENvDER BorrLe-sHAPEeD VASE 


Hard paste of the K’ang-hsi period (1661-1722). Decoration 
of flowering plants painted under the glaze in cobalt-blue of 
opaque quality. Has carved teakwood stand. 


Height, 7%, inches. 
From the D. R. Kelekian Collection. 


StT eS} IST chl OSI 
6b tht SSI csl Ly 


151—Guoxsvurar Jar with Cover 
Pure white hard paste of the K’ang-hsi period (1661-1722). 


Decorated with five medallions of archaic dragons, finely painted 
in underglaze blue of exceedingly fine quality. Finely carved 
teakwood stand. 

Diameter, 544 inches. 


152—Coverep Bowt, 


Clear white porcelain of the K’ang-hsi period (1661-1722). 
Beautifully decorated with large flowers of the sacred lotus, 
amid leafy scrolls, painted in brilliant underglaze blue of very 
fine quality. Has tall teakwood stand. 


Diameter, 5% inches. 


153—Hawrnorne GINGER JAR 


Graceful oviform, with cap-shaped cover. Hard paste of the 
Wang-hsi period (1661-1722). Decoration of hawthorne blos- 
soms in white reserve on a ground of brilliant opaque blue, 
marked with darker lines to represent cracking ice. Has teak- 
wood stand. 


Height, 74, inches. 
From Mrs. Frederick Goodrich Collection. 


154—Hanpsome BiLve-Anv-WHITE BEAKER 
White hard paste of the K’ang-hsi period (1661-1722). Decora- 


tion of magnolia in bloom, in white reserve and blue outline on a 


background of opaque mazarine-blue. 
Height, 91% inches. 


155—HawTHorne GIncer Jar 
Of the K’ang-hsi period (1661-1722). In three lozenge shaped 
panels painted in underglaze blue on a white ground, are the 
“hundred antiques and precious symbols.” Detached hawthorne 
blossoms are in white reserve on an opaque-blue ground marked 
to resemble cracking ice. Tall teakwood stand. 


Height, 8%, inches; diameter, 814, inches. 


OLD CHINESE AND JAPANESE BRONZES 


156—Ouxp Cuinest Perrume Box 


Bronze gilt on tripod; plum in blossom and _ birds axa 


wrought in relief. 
Diameter, 2 inches. 


157—O.up Iron Hexaconat Box 


Japanese; relief and damascened ornamentation in gold and 


silver. 
Diameter, 4 inches. 


158—Smatrut Trreop CENSsER 


Old Chinese bronze; archaic scrolls damascened in gold and silver 


wires. 
Height, 4% inches. 


159—Ovirorm Jar 
Old Japanese bronze; mottled red and brown patina. 
Height, 31% inches. 


160—Drum-sHarep Box 


Old Japanese Dronze, cover Hee by a dragon. 
Diameter, 4 inches. 


161—Fire Bown 
Old Chinese gilt bronze; lion-head handles. Underneath the 
foot six-character mark of Hsiian-té period (1426-1435). Carved 


teakwood with jade cover. 
Height, 314 inches; diameter, 4 inches. 


162—Trivop INcENSE-BURNER | 
Old Sentako bronze, golden brown patina. Underneath the foot 
seal mark of the Hsiian-té period (1426-1435). Has Sentako 


bronze stand. 
Height, 4% inches; diameter, 5 inches. 


163—Srorx-nEck Borris 
Old Japanese bronze, mottled red and brown patina. Character 


mark underneath the foot. , 
Height, 1034 inches. 


164—OLp JAPANESE Bronze OxImMono 


Elephant; mottled red and green patina. Carved teakwood 


stand. 
Height, 514 inches; length, 8 inches. 


165—Laree AntievE CHINESE Bronze VAsE 
Oviform; ribbed body and loose ring handles. Coated with a 
mottled-red and green patina. 


Height, 1214 inches; diameter, 914 inches. 


166—Larere Trirop Incense Burner 
Antique Chinese bronze. Round the body in relief casting is a 
fret band with archaic animals and other designs; engraved in- 


scription on shoulder. 
Height, 1234 inches; diameter, 1214 inches. 


CLOISONNE ENAMELS 


167—O.p Ctoisonne Enamet Tray 
Oblong shape. Detached blossoms, birds and other designs in 
yellow, red and white on a dark blue and turquoise-blue ground. 


Length, 5%, inches. 


168—IncENSE-BURNER 
Melon-shaped, on four feet; scroll and floral designs in various 
colors on a turquoise-blue ground. Lion-heads and loose ring 
handles. Ch’ien-lung period (1736-1795). 
Height, 4%, inches. 


169—Trirvop INCENSE-BURNER 
Ch’ien-lung period (1736-1795). Lotus flowers, blossoms and 
leafy scrolls in Indian-red, white and dark blue on a turquoise- 


blue ground. Has teakwood stand and cover. 
Height, 41% inches. 


170—Trirop INcENSE-BURNER 
Of the Ch’ien-lung period (1736-1795). Turquoise-blue ground 
with flowers of the sacred lotus and leafy scrolls in India red and 
other finely combined enamels. Engraved character mark under- 
neath the foot. Carved teakwood stand and cover. 


Height, 434, inches. 


171—Trirvop INCENSE-BURNER 


With openwork gilt metal cover, which is surmounted by a kylin. 
Decoration of archaic designs in low tones on a pale blue ground. 
Ch’ien-lung period (1736-1795). Has teakwood stand. 


Height, 7%, inches. 


172—Pair Coverep DisHes 


Flowers and scrolls in India red, dark blue and white enamels on 
a turquoise-blue ground. 
Diameter, 64% inches. 


173—Troumret SHAPED VASE 


Of the Ming period. 'Turquoise-blue ground with large flowers 
of the sacred lotus, sprays of blossoms and leafy scrolls enam- 


elled in India red, dark blue, white and yellow. 
Height, 12 inches. 


174—Trivop INCENSE-BURNER 


Globular shape, with gilt copper feet of dragon design, handles 
of archaic bird designs and cover of openwork pattern. The 
ground is of turquoise-blue enamel, with archaic scrolls and 
passion flowers in dark blue, jade-green, red and yellow. 


Height, 103, inches; diameter, 5%, inches. 


175—OLp Surpro Tra Jar 
Mosaic and medallion designs in low tones of enamels. 
Height, 534 inches. 


176—O.p Surepo Coverep Cake Box 
Brocade patterns and floral designs in low tones of enamel on a 


green ground. 
Diameter, 61% inches. 


177—ANCIENT CLOISONNE ENAMEL DisH 


Japanese. Storks, lotus flowers and panels of monsters in low 


tones of enamel on a white ground. 
Diameter, 1114 inches. 


178—Patr HEexaconat JARDINIERES 


Old Chinese cloisonne enamel of the Ch’ien-lung period (1736- 
1795). Turquoise-blue ground, with vases of flowering plants 
and dwarf trees, executed in brilliant enamels. 


Diameter, 1144 inches. 


MISCELLANEOUS 


179—Treroit Box 


Old Dresden; Marcolini period. Old rose ground with floral de- 
signs painted in white panels. 


180—Coverep Muc Ann SAUCER 


Old Dresden China; Marcolini period. Spiral design in rose- 
pink and floral decoration in enamel colors. 


181—Rare Gatikt Crystat Grass Coupe 


Of dense yellow-white substance, with mottlings of opaque green, 
representing water and sea-weeds. The outer surface engraved 
with wild daisies, shell and crab. Underneath the foot engraved 
inscription, “Escalier de Cristal Paris,” and signed ‘Emile 
Gallé. Nancy.” Mounted on a gilt brass stand of Louis Seize 
style. 


Height, 51%, inches; diameter, 434 inches. 


182—O.p \ Ss Muce 


Street scene and willow tree decorated in blue. 


183—Inp1An SILVER TRAy 


Eighteenth Century; exquisitely wrought in openwork fish pat- 
tern and delicate lace pattern. 

Diameter, 7 inches. 
From T. B. Clark Collection. 


184—O.p Persian PANEL 
Lacquer on wood, exquisitely inlaid with ivory and other material. 


185—O.p Persian Brass Botrie 
Etched ornamentation of grotesque animals and foliated borders. 
Height, 4° inches. 


186—O.up Perstan Brass Bown 


Engraved ornamentation of diaper patterns, scrolls and border 
designs. 


Diameter, 91, inches. 


187—Ouxp Perstan Brass Bown 


Engraved ground, equestrian and other ieee and inscriptions 


inlaid in silver. ; 
Diameter, 934 inches. 


188—Oup Persian Brass Bown 


Ornamentation of figures, inscriptions and diaper patterns in- 


cised and filled in with black enamel. 
Diameter, 91%, inches. 


189—Oxp Brass Ortentat Bown 


Cylindrical shape, repoussé ornamentation of figures, birds and 


flowers. 
Height, 74/4, inches; diameter, By, inches. 


190—Smatt Bronze 


A gamecock, by A. T. Cain. 
Height, 5 inches. 


191—Smatt Bronze 


A pheasant standing on rock, by A. Cain. : 
_ Length, 9 inches. 


192—Smatut Bronze 


A pheasant crouching, by A. Cain. 
‘ Length, 7%, inches. 


193—Bronzrz Pen Tray 
Rabbit seated on leaf, by A. Cain. 


194—Cotonna TRAJANA 


In antico marble. 
ITeight, 15 inches. 


195—Bronze STATUETTE 


Demosthenes; golden brown patina. 
Height, 12% inches. 


196—Bronze Ficure 


Don Quixote; brown patina. 
Height, 1744 inches. 


197—Bronze STATUE 


Hercules in repose. After Bernini. 
Height, 16% inches. 


198—First Empire Crock 


Gilt brass case on green marble plinth, with figure of, Pauline 


Bonaparte. 
Height; 12%, inches; length, 1134, inches. 


199—Brass Basket 


Old French; Louis XV. period. Repoussé ornamentation. 


200—AntTiavE Brass JARDINIERE 
Repoussé ornamentation ; loose ring handles and paw feet. 


Height, 634 inches; length, 111% inches. 


901—AnTieur CorpreR PLANT JAR 


Repoussé ornamentation of eagles and gadroons. Loose ring 
handles and ball feet. 


Height, 115% inches; diameter, 121% inches. 


202—CuinesE Treakwoop PeprEstraL TABLE 


With marble top and two shelves. Carved scroll designs and 
openwork fret moulding. 
Height, 32 inches. 


203—Exponizep PEDESTAL 
Tall column design, with revolving panel inserted in top. 


204—EBONIZED SQuAaRE PEDESTAL 
With two shelves ; carved supports and openwork rail. 


205—Carvep Oak Oxstone Tasie 
Columnal legs and turned underbrace. 


206—Carvep Oak Sar 
Antique design. 


207—Smatut Empire Taste 


Burl mahogany; finished with brass not Has drawer and 
lower shelf. iy) 


208—OvaL Mareauretry TABLE 


On slender legs. The top of floral designs in marquetry and 
parquetry veneer. Ormolu mouldings and ornaments of goats’ 
heads. : | 


209—Emrire Gem TaBLe 


Mahogany; elaborately ornamented with ormolu panels and 
mouldings. Glass top; lined with plush. Underbrace with bas- : 
ket of openwork ormolu. \ 


210—Smaru Marevetry Siwe Tassie 


With drawer and lower shelf. Mountings and mouldings of gilt 
brass. 


211—Louis XV. Centre TaBLe 


Rosewood and parquetry. Mountings and mouldings of gilt 
brass. Has three small drawers. 


212—-AntievE Manocany Work TaBLEe 


Colonial; carved eae supports with four claw feet; brass 
handles. 


2183—Manocany Writrinc TasLe 


Empire style; gilt brass handles and mounts. 
Height, 36 inches; width, 30 inches. 


214—AntievuE Manocany Dressine TABLE 


Gilt brass mounts, white marble top and swinging mirror. Has 


five drawers and lower shelf. 
Height, 671%, inches; width, 36 inches. 


215—AnTievE Manocany Bureau 


Fine burl; veneer panels; gilt brass handles and mounts; white 


marble top. 
Height, 414%, inches; length, 47 inches. 


216—Manocany Dror Lear SECRETARY 


Early English style; brass handles and mounts. Has four large 
drawers, five small drawers, enclosures and rack. 


Height, 43 inches; width, 371%, inches; depth, 201% inches. 


217—Manocany Bookcase 
Early English style; mounted on four ball and claw feet. 
Height, 60 inches; width, 42 inches. 


218—Manocany CHEVAL GLass 


Carved standard of fluted column design; supported by four 
paw feet. 


219—Carvep Oak CABINET 


The top supported by female caryatides and the base of griffin 
design. Panels carved in high relief. 
Height, 63 inches; width, 40 inches; depth, 19 inches. 


220—Music CaBINET 
Vernier Martin style; finely painted panel. ‘*Music.” 


Height, 461, inches; width, 24 inches. 


221—Partor CaBINET 
With round ends. French burl walnut, with gold lacquer mould- 
ing. Lined with silk plush. Glass shelves and doors. 
. Height, 51 inches; length, 5742 inches; depth, 18 inches. 


2229—Smatu Fire ScREEN 


Mahogany frame, with panel of antique Algerian needle and 


shell work. 
Height, 24 inches; width, 18 inches. 


223—PoLE .SCREEN 
Carved walnut, adjustable standard, with panel composed of an 
antique Persian silk rug, closely woven texture. 
Height, 34 inches; width, 22% inches. 


224—Firr ScREEN 


Mahogany frame; green plush background with panel of an- 
tique Turkish needlework. Conventional floral designs worked in 
high relief in silk and metal threads on red satin. 


Height, 20 inches; width, 19 inches. 


225—Tary Fire Screen 


Carved ebonized frame. Antique scutari panel; floral and scroll 
designs in ruby- red and emerald-green, in relief on a cloth-of- 
gold ground. 


Measurement of panel: Height, 38 inches; width, 23 inches. 


226—Tat Fire Screen 


Mahogany frame. Antique scutari panel. Conventionalized 
tulips and carnations in ruby-red and green, on a golden-yellow 


ground. 
Measurement of panel: Height, 37 inches; width, 24 inches. 


227—THREE-FOLD SCREEN 


Covered with old Spanish tooled leather, and floral and scroll 
' design in finely combined low tones. 
ae Height, 6 feet; extends 6 feet. 


SECOND AFTERNOON’S SALE 
SATURDAY, JANUARY 22, 1910 
AT THE AMERICAN ART GALLERIES 


BEGINNING PROMPTLY AT 2.30 o’cLOCK 


EGYPTIAN, PERSIAN, HISPANO-MORESQUE AND 


GREEK FAIENCE 


228—Hinpoo Ipnou 
Cast bronze. 


229—Hinpoo Ivor 
In attitude of prayer. Cast bronze. 


230—Ancient TuHrspetan Ivor 


Gilt brass; encrusted with semi-precious stones. 


of the subduers of evil spirits. 


From the Count Vapereau, Paris. 


931—UsnHastTia Ficure 


Ptolemaic; covered with a turquoise-blue glaze. 


232—UsHaBTIA FIGURE 


Represents one 


Height, 534 inches. 


Ptolemaic; coated with a mottled-green incrustation. 


233—UsHaABTIA FIGURE 


Height, 41, inches. 


Ptolemaic ; coated with a mottled-green glaze, and inscribed with 


a carved inscription. 


Height, 534, inches. 


284—UsnHastia Ficure 
Egyptian; Nineteenth and Twentieth Dae A Funerary 
figure covered with a rich blue glaze and inscribed with the usual 


formula from the book of the dead. 
Height, 6 inches. 


235—UsuastTia Ficure 
Egyptian; Twenty-sixth Dynasty. A Funerary figure incrusted 
with green glaze and inscribed with the usual formula from the 


book of the dead, which is incised in the paste. 
Height, 7Y, inches. 


236—Syro EcypTian Ewer 
Early Fourteenth Century. Coated with a mottled-blue and sil- 
ver iridescence. Found at Teheran, and pronounced as being one 
of the finest perfect specimens of ancient Persian pottery known. 


Purchased of Tabbagh Freres et Cie, Paris. 
Height, 7 inches. 


237—ANCIENT PERUVIAN VASE 


1200 to 1500 B.C. Found in a prehistoric tomb at Mouci-yari, 
near Alah-Verdi, Armenia, by Henry de Morgan, 1889. 


Height, 6 inches. 


‘2938—AntTIQquE Persian Faience VASE 


Flat bottle shape, with bosses on either side. Decorated in fine 


underglaze blue. 1700-1750. Has carved stand. 
Height, 7 inches. 


239—LustErEeD Persian Faience VASE 
Sixteenth Century. Bottle shaped, with metal collar. Invested 
with a fine blue glaze and decorated with oflral designs and vari- 
ous borders in golden lustre. 


From the Karl Edelheim Collection. 
Height, 914, inches. 


240—AntTIQvuE PERSIAN BOTTLE-SHAPED VASE 
1700-1750. Coated with an ivory-white glaze, and decorated 
in brilliant blue and floral and border designs. 


From the Kelekian Collection. 
Height, 10 inches. 


241—AnTIquE RHop1an Mue 
Asia Minor, Sixteenth and Seventeenth Century Covered with 
an ivory-white glaze and decorated with conventional designs in 


red and green. 
Height, 814 inches. 


242—AwntiaguE Ruopian PLatTe 
Asia Minor, Sixteenth and Seventeenth Century. Siliceous glazed 
earthenware; ivory-white glaze, with tulips and carnations, - 


painted in red and green. 
Diameter, 121%, inches. 


243—AntTiquE Ruwopian TILE 
Syrian, Sixteenth Century. Framed. Carnations and _ tulips 


painted in dark blue, turquoise-blue and purple. 
Height, 10% inches, square. 


244—Antiaué CuEncA TitEs, FRAMED 
Hispano-Moresque, Sixteenth Century. Incised Arabesque and 


flowers, filled in with green, blue, brown and yellow enamels. 
Height, 914 inches, square. 


245— Hispano-Moresavue Circurar Disx 
Eighteenth Century. Enamelled earthenware. Raised gadroon 
border and boss centre. Decoration of palmettes and scroll de-— 


signs in copper lustre. 
Diameter, 111% inches. 


246—Hispano-Moresaue Crrcuiar Disxu 
Eighteenth Century. Companion to the preceding. 


Diameter 115% inches. 


247—Antiaurt Hispano-Moresave Circurar Disx 
Sixteenth Century. Buff glaze. Decoration of carnation and 
border designs in copper lustre with varied reflections. 


Diameter, 1314 inches. 


248—Hispano-MoreEsquE PLATE 
Eighteenth Century. _ With sloping rim and umbilicus in the 


centre. Decoration of conventional designs in golden lustre. 
Diameter 1434 inches. 


TSZ 8Sc SSZ LSZ pSC 


249—Hispano-Moresaur Piatr 
Eighteenth Century. Similar to the preceding. 


Diameter, 145% inches. 


250—Hispano-Moresavue Disu 
_ Eighteenth Century. Deep circular shape, with flat rim. Buff 
glaze, with crowned eagle painted in blue and conventional border 


designs in golden lustre. 
Diameter, 1554 inches. 


251—Hispano-Morescut PLaTrEeau 
Eighteenth Century. Raised gadroon centre. The outer bor- 
der ornamented with large raised leaves. Decoration of leaf and 


scroll designs painted in copper lustre on a buff ground. 
Diameter, 1434 inches. 


252—Antique Hispano-MoreseaveE Circurar Disu 
Sixteenth Century. With broad sloping rim and rated centre. 
Decoration of crudely drawn floral designs painted in copper 
lustre. 


Diameter, 141%, inches. 


253—Hispano-Moresave Disu 
Eighteenth Century. Deep circular shape and flat rim. Deco- 
ration of bird, bunches of grapes and scroll designs in golden 
lustre on a buff ground. 


Diameter, 141% inches. 


254—Hispano-Morzrsave Deep PLATE 
Eighteenth Century. Raised gadroon centre and broad sloping 
rim, with raised leaves. Decoration in golden lustre and blue 


enamel. 
Diameter, 155% inches. 


255—Larece Hispano-Moreseve PLate 
Eighteenth Century. With raised centre. Decorated with Cas- 
tilian coat-of-arms and broad border design in blue enamel and 
golden lustre. 


Diameter, 1814 inches. 


256—Hispano-Moresavurt VASE 


Eighteenth Century. Amphora shape, with two rudimentary 
handles. Buff color glaze, with scroll designs in golden lustre 
and inscription in blue. 


Height, 91% inches. 


257—Hispano-MoresauE VASE 


Eighteenth Century. Tall amphora shape, on spreading base. 
Palmettes and scroll designs painted in golden lustre on a buff 
ground. 

Height, 141%, inches. 


258—Hispano-Moresauet VASE 


Eighteenth Century. Globular-shaped body, on a_ trumpet- 
shaped base, the neck of elongated funnel form, flanked by two 
large wing-shaped handles. It is coated with a buff color glaze, 
and decorated with conventional floral designs, leaf scrolls and 


borders in golden lustre. Round the base an inscription in blue. 
Height, 16%, inches. 


959—ITaALIAN Faience PLAQUE 


Decoration of tulips and blossoms in blue, green and orange- 
yellow on a cream-white ground. 
Diameter, 1344, inches. 


260—O.xp ITratiAN Faience PLAQue 


Mythical figures, leafy scrolls painted in yellow and green on 
an ivory-white ground. Figure of Infant St. John in centre 
medallion. 

Diameter, 1234 inches. 


961—Tanacra Group. Sratep Lapy wirn Curip on Her KNEE, 
Lert Hanp on Lyre 


This large “Tanagra” has been called a Statuette Sappho of 
Lesbos, because the lyre at her side makes her out a musician and 
poet, while the cupid on her knee may refer to the love poems 
which came down in Greek literature with the name of Sappho 
attached to them. Like some of the Etruscan figurines, this one is 
excessively long and slender. The arrangement of her hair is 
very peculiar. Red paint still visible on hair. As in all these 


pretty statuettes, the head was moulded solid and separate, and 
then fixed to the shoulders. Expressive bend to the head of the 
lady ; much fine modelling in the drapery. In specially designed 


cabinet. 
Height, 81 inches; length, 81/, inches. 


262—Tanacra Ficurtne. Lapy with Fan 
A larger figure of lady walking and holding her fan made of a 
palm leaf imported into Greece. Large and beautiful folds of 
drapery. These figurines are found in large quantities in Boeotia, 
Attica and some other parts of Greece, and also in Asia Minor 
and Italy. They were placed in tombs to represent the dead, 
and also the friends of the dead, by way of comfort to the de- 
parted. Few of the hundreds found in Greek and ~ Etruscan 
tombs are well modelled. Some, however, are charming and ex- 


quisite. In specially designed ebonized cabinet. Z 
Height, 9% inches. 


263—Tanacra Ficurine. Lapy wirn Prerasos Har 

A figurine in light clay, with remains of color. Fine folds of 
chiton and cloak. She wears above the fold of her cloak that 
covers her hair a small high hat of the same shape as the petasos 
or traveler’s hat on the head of Mercury, but without the wings. 
Very graceful and beautiful figurine. The head was modelled 
separate from the body, and put on when the figure was painted. 
The holes in the unfinished backs of these “Tanagras,” as they 
are called, served the double purpose of ventilating the inside of 
the clay when in the kiln, and hanging the statuette up to the 
walls of the tomb. In specially designed ebonized cabinet. 

Height, 8 inches. 


264— Antique HeLvenistic Porrrair 
A very interesting relic of Greco-Egyptian art, showing the 
head and shoulders of a young woman, clad in a white dress cut 
somewhat low at the neck. Around the throat is a necklace of 
black beads, the only ornament she wears. Her black hair is 
drawn off her forehead, and falls to her shoulders behind; her 
lips are slightly parted, and her fine dark eyes gaze straight at 


the spectator. 
Height, 13 inches; width, 7 inches. 


997 892 692 L9C $92 


2965—GReEEK-ETRUSCAN Vase. ‘'TWO-HANDLED VASE FOR WINE 


Very perfect example of the round, two-handled vases of Greek 
or Etruscan workmanship, found in the tombs of Italy, Greece, 
Gaul, ete. Decoration of Adonis, in Phrygian cap, riding on 
winged griffon, male and female dancers preceding and following 
him. Designs on rest of upper vase are variations of the 
palmetto motif. The specimen came from Nola, and is credited — 
to the century 300 to 400 B.C. Has specially designed ebonized 


cabinet. 
Height, 10%, inches; diameter. 6 inches. 


266—GreEEK-ETRUSCAN VASE. THREE-HANDLED Biack VASE 


What with the constant exportation of Greek vases to Italy, and 
the rise of several schools of Etruscan vase decorators, who 
copied Greek designs, it is difficult to detect native Italian ware 
from imported. The specimen is from Nola, Fourth Century 
B.C. This is a very perfect wine jar of the sort found in tombs, 
and probably made for mortuary purposes. Delicate reddish 
bands pass partly round the body and neck. On one side a lady 
carrying vase for unguents turns to her maid, who is bringing 
toward her a box which might contain cosmetics, or jewels, or 
the ashes of the dead. The other side is plain, so that this vase 
was meant to stand on a shelf, with the figured side outward. 
Height, 1014 inches; diameter, 7 inches. 


2967—GREEK-ETRUSCAN VasE. 'THREE-HANDLED WINE JAR 


Very old specimen of Greek vases for the tomb. Chief decora- 
tion, three youths riding swiftly, perhaps in a race. Such a 
vase would be placed in the grave of a man who had won horse- 
races. Illegible inscriptions on the pale yellow ground near the 
heads of the horsemen. Under the side handles are trophies of 
arms for decoration. Fine old piece from Apulia, Italy, attri- 
buted to the Sixth Century B.C. Perhaps by a Greek artist. 


Height, 11144 inches; diameter, 8%, inches. 


268—Greek-Erruscan Vase. Tati Two-HanpLep Om Jar 
Black ware, with pale red figures and decorations. On one side 
a bareheaded warrior with spear and round shield bearing a scor- 
pion as its charge holds the hand of a draped lady, as if bidding 


her good-bye. On the other side two citizens in long cloaks, one 
having a walking-stick, are standing facing one another, as if in 
conversation. Nola ware, Fourth Century B.C. The man and 
woman on this vase have been called Achilles and Deidamia. 


Height, 13%, inches; diameter, 634, inches. 


269—Greek Erruscan Vase. Giant Jar ror Mixine Wine. (Am- 
PHORA) 


A tall jar of the kind shown standing on the floor near the tables 
in wall-paintings of banquets in Etruscan tombs. A youth 
crowned with a garland (indicating that he has sacrificed to the 
gods) sits to receive food and drink from attendants. In front 
of him a youth holds a two-handled cup over a broad platter. 
Behind him a maid carries a box with cakes in her left hand, and 
a flowering and fruited branch in her right hand. Big ivy and 
tendril decorations on neck. Apulia, Italy. Fourth Century 


B.C. Native work. 
Height, 21 inches; diameter, 1514 inches. 


A REMARKABLE COLLECTION OF BRONZES AND OTHER 
WORKS BY ANTOINE LOUIS BARYE 


Which, with the exception of the William T. Walter’s collection, 
Baltimore, and the one owned by the Corcoran Gallery of Art, Wash- 
ington, D. C., is one of the most important in numbers and in the ex- 
cellence of its specimens known to exist. 

Nore.—In order that this valuable collection may be aban by 
a Museum of Art or other public institution, it will be offered first as 
a whole, at a nominal upset price—which will be announced at the 
time of the Sale—conditional that the museum or institution acquiring 
the collection will keep the same intact and exhibit it and label the 
same as the “Cyrus J. Lawrence Collection” for at least twenty years. 

Bids for the collection in its entirety will not be received from 
others than those representing a museum or other public institution. 


(From the Catalogue of the Exhibition of the Cyrus J. Lawrence Col- 
lection of Bronzes and Paintings by A. L. Barye, at 
the Grolier Club, 1909.) 


ANTOINE LOUIS BARYE 


“THE man of genius whose work is represented in this exhibition enjoyed 
an inspiration rare in any epoch, but never, from the earliest times, 
without its zealous followers. In nearly every great school there have been 
artists to whom the appeal of the animal as a subject for treatment has 
been as urgent as the appeal of the human figure has been to the 
majority of their fellows. One of the earliest masterpieces in the his- 
tory of sculpture is that relief, of Assyrian origin, now in the British 
Museum, which portrays a wounded lioness on the verge of its last 
agony. The horse was modeled with peculiar knowledge and enthu- 
siasm by the Greeks, and the taste, if not the power, developed in their 
world, was revived in that of the Romans. In more modern periods 
the same sympathetic feeling for the noblest of quadrupeds is observed, 
and, indeed, the animal, wild or domestic, reappears again and again in 
the works of the masters. The insatiable curiosity of Leonardo wreaks 
itself on strange beasts; Rembrandt, in one of the most interesting of 
his drawings, gives you the portrait of an elephant; the robust style 
of Rubens is flung magnificently over the hurly-burly of form involved 


in a lion hunt, and so, through countless phases, an influence persists 
down to our own day. Antoine Louis Barye is an honorable figure in 
a long line of artists whose gifts have been dedicated to the interpre- 
tation of the carnivora and those four-footed creatures which have been 
tamed by man. 

“Born in Paris in 1795, he came to manhood at a time and amid 
circumstances exceptionally favorable to the growth of his artistic pre- 
dilections. In the clash of the Napoleonic wars men’s minds turned 
naturally enough to themes of wild violence. The typical academician 
of that period pursued, it is true, the even tenor of his way, and, in 
fact, under the empire, found his path made doubly smooth. But there 
were electric forces in the air, and these were destined, sooner or later, 
to promote rebellion against pseudo-classicism and the rule of thumb 
generally. The possessor of a literary or artistic temperament was 
stirred by the emotions of the man of action, and these were bound to 
find an outlet. Thus germinated the passion for a new ideal of beauty 
and for individual expression which culminated in the formation of the 
romantic school. The painters of 1830 established their tradition, con- 
sciously or unconsciously, on a basis not simply of artistic, but of poli- 
tical and social feeling. The life-blood of France was re-invigorated ; 
men used their limbs with a new energy. The scales fell from their 
eyes, and if they saw visions and dreamed dreams, they also looked out 
upon the visible world with a keener zest and a wider range of sym- 
pathies. They obeyed, moreover, the dictates of their own characters. 
Géricault exercised the faculties of a realist with a dramatic turn of 
mind. Delacroix, avid of the thing that he could see and touch, was 
nevertheless impelled to bathe it in the glamour of romance. Decamps, 
when he turned from landscape, from Oriental caravans, from Italian 
peasants, and the like, would paint monkeys as human beings, giving 
free play to the vein of satire in his nature. What of Barye, who 
was of their generation and in harmony with their broad spirit? He 
gave himself first and last to the expression of the truth, presenting 
it in his art without the intervention of any sentiment, romantic or 
otherwise. 

“The story of his career is one of unremitting application to the 
lessons of nature. His father was a silversmith, and in his youth he 
served the apprenticeship of a craftsman. In the workshop of Fourier 
he learned how to work in the precious metals, and it may be noted in 
passing that down to the day of his death he preserved the aptitudes 
of the goldsmith. Some of his statuettes might have easily been 
produced by a disciple of Cellini. But Barye soon craved a wider 
field of activity, and found the key to it in that impulse which drove 


him to the Jardin des Plantes. Frequenting the collection of wild 
animals there, absorbed in contemplation of their traits, he proceeded 
to observe them both as an artist and as a naturalist. To Delacroix’s 
instinct for the sinuous beauty of the leopard or the tiger he joined a 
scientist’s inquisitiveness as to the springs of action in those lithe, 
gleaming bodies. He studied the movement of the muscles under the 
rippling skin, he noted every nuance of expression about the mouths 
and eyes of his great cats. He watched them feeding, or moving with 
their ceaseless restlessness up and down the cage, or lying in ineffably 
graceful repose. He marked the reference of action to emotion, so 
synthesizing his observations that, when he came to paint one of his 
water-colors or to model one of his bronzes, he made his lion or panther, 
his tiger or crocodile, an astounding unit of form and feeling. The 
tread of one of his tigers is full of power and menace. ‘The whole 
body seems to quiver. No beast of his is immobile, unless, perchance, 
he wishes it to be so; and even then one is always aware, as in the pres- 
ence of the living animal, of an extraordinary latent elasticity. Not 
the Assyrian relief already mentioned, not any triumph of Greek plastic 
art, is more vitalized than is one of these masterpieces of Barye. His 
works have in them a spark of that life which makes a thrilling mystery 
of the depths of the jungle. Like Blake, with his “Tiger, tiger, burn- 
ing bright,’ this artist flashes upon the imagination an authentic image 
of terror and beauty. 

“He could do this, in the first place, because he knew his subjects so 
well, because he had got, so to say, under their skins. The value of 
the truth in his work is transcendent. But if his pictures and sculp- 
tures are to be treasured, it is also because they give expression to a 
great artistic personality, to a man with the secret of style. He is 
not content to make a realistic portrait of one of his models. He must 
caress that portrait with an individualizing touch, he must determine its 
outlines and its effect in the mass, so that it will conform to his sense 
of design. It is interesting to note, too, that you may turn a bronze 
of Barye’s about, looking at it from every point of view, and always 
it is interesting, as the animal itself would be, moving hither and yon. 
There is a wonderful boldness, there is a kind of grand simplicity, in 
the art of Barye; but he is a subtle master, one whose work, no matter 
how spontaneous it may seem to be, leaves invariably an impression of 
artistic construction, of delicately wrought composition. 

“Tt took his countrymen some time to realize what he was driving 
at and to do him honor. In the competitions which he entered at the 
Ecole des Beaux Arts, as a young man, the prize would again and again 
be awarded to some rival now unknown to fame. 


—, 


“He was sorely tried, and must at times have reached the brink of 
despair. He was, however, no less tenacious than modest, and after 
years of patient waiting he had his reward. Discerning patrons en- 
tered his life, some of them, like the Duke of Orleans, well qualified to 
make his talent known, and little by little public appreciation drew 
him from the obscurity in which academic authorities would have been 
satisfied to leave him. Monumental bronzes of his were erected in 
Paris and elsewhere; his works, executed on a small scale, figured in 
exhibitions and were presently acquired with enthusiasm by private 
collectors. When he died, in 1875, he died in the knowledge that his 
rank as a great artist had been fixed, and ever since his renown has in- 
creased. It is good to know that American connoisseurs were quick 
to perceive his merit, and that his art is finely represented in this 
country.” 


270—(78)—Rassir witH Ears Erecr 
Golden brown patina. Meant for a paper-weight, this little ani- 
‘mal has all the characteristics of the great artist—fine propor- 
tions, big masses, large planes, all showing the conscientious 
method of the “old man who loved the beasts.” 


Signature stamped on the base, “Baryer.” 
Height, 134, inches; length, 3 inches. 


271—(79) Srarriep Rasszir 

Miniature bronze. Antique green patina. The sculptor has 
caught bunny in the attitude so well known to hunters when the 
animal sits rigid, expecting his enemy to lose sight of him among 
the underbrush; yet he is ready to spring if he sees that he is 
discovered. 
Incised signature on the base, “Barye.” 

Height, 1%, inches; length, 21% inches. 


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272—(80) Ragsir wirh Ears Down 
Dark brown patina. Crouching in the covert, the rabbit is lis- 
tening to some sound of fox or dog or man, and calculating the 
distance from his burrow in case of need. When in this position 
bunny is almost invisible among the old leaves. 


Incised signature on the base, “Baryer.” 


Height, 11% inches; length, 3 inchet 


273—(77) Sreatep Hare 


Miniature bronze. Modern. Antique green 
patina. The hare lives chiefly in the open 
fields, and depends for its safety on eternal vigi- 
lance. Its great spoon-shaped ears catch every 
sound. A paper-weight like the preceding 
pieces, this little bronze has all the chief traits 
of the beast. 


Incised signatures of “Bary” and “BarBEDIENNE.” 


Height, 3 inches. 


274—(82) Srork on Back or Tortoise 

Miniature bronze. Antique green patina. Paper-weight in 
which Barye has for once taken an idea from the Orient—stork 
and tortoise, both symbols of longevity, one representing the air, 
the other water. In Europe the stork usually denotes the home, 
and is supposed, when it builds on houses, to ward off the light- 
ning. <A charming and graceful little group, showing the deli- 
cacy of limb obtained by the ‘*melted wax” process. 
Impressed signature, “Baryx.” 

Height, 3 inches. 


275—(86) CHIMERA 


Bronze. Brown patina. A combination in the Etruscan style 
of lynx and bat—the animal famous in antiquity for sharpness 
of sight and the winged creature that haunts the dusk. Barye 
had no precedent for this particular mingling of the two animals; 
it is original with him, and forms a striking object suggestive of 
the odd figures carved by the old French stoneworkers on Gothic 
churches. 

Incised signature on base, “Bary.” 


Height, 434 inches. 


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276—(81) Bronze CrocopiLe 


Antique green patina. Lifelike miniature crocodile for paper- 
weight. The sculptor has given two curves to the body and 
tail, thus pointing out the lines of beauty in the scaly monster 
of the Ganges and Nile, like the true artist he was. 
Impressed signature underneath the foot, “Baryer.” 

Length, 8 inches. 


277—(76) Bronze Searep Car 


Antique green patina. That selfish philosopher the cat was a 
favorite with Barye, who loved to observe the resemblances and 
the differences between tabby and the great wild cousins of the 
jungle, whom he studied in the Jardin des Plantes. This cat 
is purring and thinking, resigned to familiarities, but always 
wrapped in her dignity. <A lovely bit of green and gold patina, 
very pleasant to the touch. The soft wrinkles in tabby’s skin | 
above the shoulder are beautifully indicated with a broad model- 
ling very extraordinary indeed. 
Incised signature on the base, “Barye.” 

j Height, 334 inches. 


278—(74) Kine Cuaries Spanien 


Silver; modern. Portrait in silver of some pet dog lying on a 
rough skin. The collar shows that it is a valued house dog. 
This must have been an order from the owner, which the sculp- 
tor carried out in silver. 

Signed underneath the base, “Barve, 5269.” 


Height, 21%, inches; length, 5 inches. 


279—(60) Erutoptan GazeLLE 


In this ornament Barye has 
caught very perfectly the 
dainty tread of animals of the 
antelope family. Body and re- 
curved horns seem to fit into 
hand as one lifts the small 
figure. 'The attitude expresses 
also the timidity of the gazelle, 
ever ready to fly at the slight- 
est sound. 


Signed, “Barye, 1837.” Incised inscripiion on base, “Gazelle d’Ethiopie.” 
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Height, 3%, inches; length, 4 inches. 


280—(59) Bronze “Kevet.” 


Miniature figure of a desert- 
dwelling antelope, like those 
on the walls of ancient tombs in | 
Egypt, where they appear as 
the spoils of hunters or tribute 
from African tribes. Broad 
modelling, characteristic pose 
of head and legs. ; 


Signed on the base, “Bary.” 


Height, 4 inches; length, 4 inches. 


281—(58) Bronze Faun, Reciinine 


(Proof No. 8.) Mottled-brown patina. Young deer in com- 
plete rest, with muzzle on the ground. In this position it is al- 
most as hard to distinguish from its surroundings as a hare 
lying in her ‘“‘form” on the brown tilled land. <A favorite sub-. 
ject with Barye. 


Signed on the base, “Bary,” and impressed mark, “Baryn, 8.” 


Length, 6 inches. 


282—-(57) Faun Scrarcuine Itsetr. Mopern 


Mottled-brown patina. Paper-weight, composed to admit 
of easy grasping when shifted about a library table. The 
sculptor enjoyed modelling an animal at rest as much as in 
action. He was as perfect in a simple theme like this as in a 
complicated one calling for a flight of imagination. 


Signed on the base, “Barye.” 
Length, 64% inches. 


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283—(83) Sitver Groupe. Hercures Carryine Boar. Mopern 
Spirited little group from Greek mythol- 
ogy, showing Hercules performing one of 
his “‘labors’”’—that of conquering the Ery- 
manthian boar, a creature sent by one of 
the high gods of Olympus to destroy the 
crops and cattle of certain Greeks who had 
incurred displeasure. Hercules seized the 
boar and bound it alive. Barye has added 
a heroic trait, for Hercules has swung it 
across his neck by the ears, thus making 
a sculpturesque composition of the human 
figure and the beast. 


Signed on base, “Barve.” 


Height, 5 inches, 


284—(84) Bronze Srarverre. Roman Jester. Mopern 


Antique green patina. Archness and as- 
surance are shown in this little figure of an 
undersized man wearing shoes and _ one 
voluminous cloak, to which a cap is at- 
tached. It might be a scholar of the old 
University of Paris acting in some play, 
or a Neapolitan comedian in dumb show 
entrancing the populace with his play of 
pose and feature. Broad masses and large 
modelling; great animation in a pose of 
arrested motion. 


Signed on the base, “F. BarBepieNNE, FoNDEUR.” 


Height, 67% inches. 


285—(90). Bronze PHeEasanr. 

Modern. Antique green patina. Elegant figure of a pheasant 
walking, the feathers of neck and wing-covers indicated by in- 
cised lines. Head and body modelled in broad, simple planes, 
with a base correspondingly simple in treatment. Springy walk, 
alert look, as if challenging an enemy. 
Signed, “Barve” and “F. BarBepIENNE.” 

Height, 41, inches; length, 81 inches. 


286—(91)—Wovunvep PHEASANT 
Modern. Golden brown patina. Tragedy of the pheasant 
cover. A cock bird has received a crippling shot, and cries 
aloud as he sees the dogs coming. The agitation of the wounded 
creature is shown in his plumage, which rises up in the same 
way as when cockbirds fight. A singularly well observed atti- 
tude. 


Signed on the base, “Barye.” 
Height, 5 inches; length, 7%, inches. 


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287—(69)—Wotr Taken 1n TRAP 


Antique green patina. One of the 
most admired of Barye’s figurines 
of wild beasts. It is an animal 
that rarely excites compassion in 
countries where sheep, poultry 
and sometimes calves and fowls 
succumb to its attacks; but the 
sculptor has been able to make us 
feel pity even for the gray skulker 
round the flocks. The action, the 
modelling, are superb. One seems 
to hear the anguish of the howl. 


Signed on the base, “Baryr.” 
Height, 414 inches; length, 5%, inches. 


288—(68) Rarret Rossine Nest 


Antique green patina. The Cape or honey badger is a creature 
peculiar to Africa. Here it is caught in the act of demolishing 
the nest of a ground breeding bird. Its tail and lifted paw 
express a kind of humor common to the bear tribe, of which he is 
a distant cousin, though naturalists ally him with the weasels 
also. Splendid broad modelling and a delightful color scheme 
in the patina distinguish this lively figure. 
Signed on the base, “Barye.” 

Height, 4 inches; length 6 inches, 


289—(73) Two Does Runnine 


Brown patina. Anyone who has watched pointers at work will 
relish this capital little bronze. Two dogs working as one are 
close to the quarry. Their lean sides show the ribs, their legs 
are straining, they seem to be quivering all over with excite- 
ment. With noses close to the ground they are following the trade 
to which they are carefully bred, generation after generation. 
Hunting of all kinds is practised in France to an extent very dif- 
ficult to understand in a country apparently so completely under 
cultivation. 
Signed, “Banrye.” 

Height, 3% inches; length, 6% inches. 


290—(71) Enetish DacusHunr 


Antique green patina. Badger hounds in Great Britain are not 
so low in the leg and comparatively long in the barrel as German 
“dackerls,” as they are affectionately called in the Fatherland. 
Barye had a genius for expressing character in animals without 
pushing it over to the sphere of nature-fakirs. Here he catches 
the kindly, intelligent look of the dachshund, one of the most 
beloved among the many breeds of dogs. 
Signed on the base, “Banrye.” 

Height, 6% inches; length, 8% inches. 


291—(70) —DacusHuND 


Mottled-green and brown patina. Closer to the common type 
of German badgerhound in Barye’s day, this beautiful bronze 
does not portray the extreme modern type of the breed which 
furnishes German caricature with some of its best and most 
harmless jokes. This dog is well fitted to enter a badger’s bur- 
row and drag the solitary, angry fellow out into the open. He 
is bred for hunting, not to amuse people with a body and legs 
like a crocodile. 
Signed on the base, “Barve.” 

Height, 614 inches; length, 1214 inches. 


292—(72)—Bronze Grovur. “I'wo Docs Arrer PHEASANT 


(Proof No. 5.) Brown patina. People of wealth in France, as 
in England, pay much attention to hunting, and naturally enjoy 
pictures and bronzes that remind them of the chase. Here is 
Barye trying to please that taste by modelling a pointer and a 
setter in the act of showing their master the lurking place of a 
pheasant. The bird is lying flat, hoping to be overlooked in the 
brown grass and leaves. The two dogs are in characteristic 
poses. Distinctively a mantel ornament for lovers of the chase. 


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Signed on the base, “Barye,” and impressed mark, “Baryr, 5. 


Height, 7% inches;length, 101%, inches. 


293—(56) Wovunvep Srac 


Mottled-green and brown patina. One of those delicate little 
bits of animal life which Barye fashioned in competition with 
other makers of figurines. But where they are trivial, common- 
place, realistic without point, Barye was broad and impressive, 
no matter how small the figure might be. This stag, aware that 
something has touched his vitals, raises his head and slightly 
bends his hind legs just before falling to the ground. He is a 
young buck still, a “‘five-ender.”” The sculptor indicates the 
bony structure of the body in a masterly modelling. 


Signed on the base, “Barve.” 
Height, 41, inches; length, 41% inches. 


294—(55)—Srac Watkine 


(Proof No. 16.) Golden brown 
mottled patina. The monarch 
of the oakwood is here, reduced 
to the size of a figurine to crown 
a timepiece on a mantel, yet 
shaped as only one can model 
who has lived with such lovely 
creatures most of his life. He 
is a ‘‘seven-ender,” a patriarch 
of the deer park. Observe the 
extraordinary beauty of the 
patina, where gold flashes out 
from the darker ground. <A 
lovely little piece. 


Signed on the base, “Barve,” and impressed mark, “Barve, 16.” 


Height, 74% inches; length, 81/4, inches, 


295—(53) ListEnine Stac 


(Proof No. 36.) Brown patina. Like Rosa Bonheur in France, 
and Sir Edwin Landseer in Great Britain, the sculptor of ani- 
mals frequented places where deer are at liberty. Not content 
with modelling those in the Zoo, Barye frequented Fontainebleau 
and other parks where game is preserved, just as the painters 
of animals did later. In fact, Delacroix was doing it at the same 
time. This stag, with haughty, uplifted head, is a little marvel 
of color as to the patina on the bronze, and a masterpiece of 
modelling. 
Signed, “Baryr, 1838.” Impressed mark, “Bary, 36.” 

Height, 734 inches; width, 634 inches. 


296—(54) Srac wirn Ratsep Lee 


(Proof No. 40.) Brown patina. Proudly pawing the ground, 
the stag that Barye modelled here is a buck that sees his rival at 
a distance, and prepares for a battle. Meanwhile his inner rage 
shows itself by the uplifted foreleg, for deer strike with forelegs 
as well as butt with their horns. Amateurs of bronzes admire 
greatly the patinas which Barye managed to give his bronzes 
about the period of these figurines (1837-1845). This bit 
might be called “The Challenge.” 


Signed on the base, “Baryx.” Impressed mark, “Barve, 40.” 


297-——(52) Bronze Group. Bucx, Dor, anp Two Fauns 


Antique green patina. , Family life among the pretty denizens of 
the deer park. Barye has studied the silhouette of a group in- 
tended as an ornament of the mantelpiece, where perhaps a mir- 
ror would reflect the opposite side. The heads of doe and faun 
come opposite the open spaces under the buck’s neck and between 
his hind legs. The doe’s head is particularly well placed with 
regard to the head and neck of the stag. Specially fine green 
patina, which is relieved against the black marble of the base. 
Signed, “Barve.” 

Height, 7 inches; length, 1114 inches. 


298—(51) Bronze Group. Srac, Hinp, anp Faun 


Antique green patina. Another family group of red deer, the 
doe and faun resting, the stag standing on an elevation, with 
head erect as a watcher over the safety of the family. Well com- 
posed mantel ornament to be looked at from one point of view. 
Observe the silhouette, the way the head of the resting doe fills 
the space below the barrel of the stag. 


Signed on the base, “Barve.” 
Height, 9%, inches; length, 934 inches. 


299—(50) Bronze Group. Wotr Hoxpine Srac sy THROAT 
Antique green patina. Barye was inspired in one way by the 
interest in natural history shown in Europe and America during 
the first half of the last century; in another by such novels of ad- 
venture as Cooper’s Leather Stocking tales and the books that 
came after from the pens of Britons, Germans and Frenchmen. 
What all boys enjoy—descriptions of combats between animals 
—that Barye enjoyed, with the additional zest of the artistic 
imagination springing from the tragic side of wild life. Here 
is a large gray wolf at the desperate task of pulling down a 
stag without laming it beforehand. He has sprung at the stag’s 
neck and runs the risk of being cut to pieces by the animal’s 
sharp hoofs before he can disable his prey. Fierce and spirited 
struggle between traditional foes. 

Signed on the base, “Barye.” 
Height, 854 inches; length, 18 inches. 


3800—(49) Bear Sranpine 


1831. Antique green patina. Barye tried 
to prove that wild beasts have all the main 
traits of human beings; not merely the 
tragic traits, but the comic. The bear has 
a humor all his own, whether he is playing 
tricks on his fellow-bears or rolling about 
in the water. Singularly like a clumsy 
monster of a man is the bear on his hind 
legs. He can stand like a man because 
men and bears are “‘plantigrade,” or have 
feet alike in general structure. Here we 
have Bruin as he delights the village chil- 
dren when he dances for them. A pose 
full of energy and balance, a delicate dark 
green patina with gold high lights, make 
this a remarkable figurine. 


Signed on the base, “Barye.” 


Height, 9% inches. 


301—(48) Lorine Bear 


1834. Brown patina. Bruin sprawling at his ease and amus- 
ing himself. Another humorous treatment of the bear, which 
has thrown itself on its back and seized the toe of a hind foot with 
the claws of a forepaw, as a baby will lay hold of its foot with 
its hands. Broad, easy modelling, which takes account of the 
different lay of the pelt in different parts of the body of the 
bear. 


Signed on the base, “Barve.” 
Height, 5%, inches; length, 8 inches. 


302—(47) Bronze Group. Bear 1n TREE SeEiziInc Own 

Antique green patina. Bruin might seem the last beast in the 
world to catch a bird; but in daylight the owl is sluggish. The 
sculptor has made of bear and owl a novel and exciting bit of 
forest life, in which the struggle for existence favors the more 
intelligent. This is one of the rare pieces which seldom are for 
sale. 
Signed, “Barve.” 

Height, 7%, inches; width, 7 inches. 


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3803—(46) Group or Tusstinc Bears 


1833. Antique green and brown patina. Bears are playful 
creatures, as anyone who frequents the Zoo quickly realizes. 
Polar bears like to duck each other in the pool; brown bears play 
for hours with a ball. These two playmates are having a 
wrestling match, pretending to fight for keeps, but always strik- 
ing and biting with discretion. A very well managed composi- 
tion and a piece with excellent dark brownish green patina. One 
of the less common groups. 


Signed on the base, “Barye.” 


Height, 8%, inches; width, 64%, inches. 


304—(45) Smatt Atcertan DromMEpDARY 

Antique green patina. Ever since Napoleon’s expedition to 
Europe, the Orient has attracted French artists. During Barye’s 
life there were many painters beside Géréme and Decamps, who 
made their mark depicting African scenes. Algiers kept France 
interested in Northern Africa. The little statuette of a drome- 
dary shows the desert post horse, which is trained to carry men, 
not packs. They make marvellous time over the Sahara, com- 
pared with the ordinary dromedary or the two-humped Bactrian 
camel. Camels keep a store of water in one of their stomachs 
and a store of fat in the hump, so they can go for days without 
food or water. 


Signed on the base, “Barye.” 


Height, 5%, inches; length, 71 inches. 


305—(44) AtcerIAn Dromepary 
Mottled-brown patina. Handsome statue of a one-humped 
camel, having a rich brown patina. The sculptor had good op- 
portunities to study these animals at the Jardin des Plantes. 
Surprising that he could make a work of real art out of so un- 
couth a beast! 


Signed, “Barve.” 


Height, 7% inches; length, 934 inches. 


306—(42) Arrican ELEPHANT 


Mottled-brown and green patina. African elephants can be most 
readily distinguished from Indian by the great size of their ears. 
This little figurine expresses well the curious appearance of an 
elephant, as if made out of gutta-percha, and at the same time 
offers a very remarkable color scheme in its patina. A singular 
fact about the African elephant is this: Unlike the Indian, it was ~ 
never domesticated by any of the races of that land, not even 
by the Egyptians, whom the Greeks thought the wisest of man- 
kind. 


Signed on the base, “Barye.” 
Height, 514% inches; length, 8 inches 


307—(43) Asian EvzrHant, Runnine 


1833. Antique green patina. Here we have the Asian elephant 
in motion, its trunk elevated, its tail straight out, and the ears, 
comparatively small, pricked forward as if it were about to 
charge. Observe that the great weight of the beast rests alter- 
nately on the left front and right back leg, then on the right 
front and left rear leg; this gives the peculiar motion one 
notices when riding an elephant. 
Signed, “Barve.” 

Height, 6 inches; length, 91% inches. 


308—(40) SrnEcAL ELEPHANT 


Antique green patina. An African elephant in rapid career, the 
entire weight of the body being momentarily suspended on one 
foot and the toe of another. Lively little statue, greatly ad- 
mired by Barye’s comrades of the brush and burin. Bold model- 
ling to indicate the heavy hide with its wrinkles. The ears are 
expanded like great leaves. Dark fine green color. 
Signed, “Barys.” 

Height, 51%, inches; length, 8%, inches. 


309—(39) Senecat ELerHantr 
Aluminum. Modern. In the light metal aluminum, Barbédienne, 
the founder, who took over all of Barye’s models at the sculptor’s 
death, has reproduced the running African or Senegal elephant. 
This is one of the most popular single pieces. 


Signed, “Barve” and “F. BarBepienne, FonpDEvR.” 


Height, 5% inches; length, 8 inches. 


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310—(41) Cocutn Cutna ELEPHANT 

Modern. Antique green patina. Elephants of Indo-China are 
naturally akin to the Indian. Only naturalists can separate 
them. There is a great difference among individuals. The 
famous white elephants of Siam are merely sports in color such 
as all animals show. The sculptor has given a special character 
to this elephant from Cochin China, but the difference is indi- 
vidual, not racial. 


Signed, “Baryu.” 
Height, 51%, inches; length, 734 inches. 


$11—(88) Larcr Group. An Evernant Crusuine A TIcER 


1837. Brown patina. The Duc de Montpensier gave Barye a 
special order for this group, and in 1837 he finished it. It was 
not sent to the Salon because the favors received by the sculptor 
from members of the royal family excited so much jealousy that 
his pieces had been refused before. Here we are in Northern India 
assisting at a duel to the death between the largest and wisest 
of vegetarians and the fiercest and most powerful of flesh-eaters. 
The tiger has grappled the elephant’s shoulder. The elephant 
has torn him off with his trunk, and before he can get his feet has 
pinned him to the earth with his right tusk. Splendid group, 
which added greatly to Barye’s fame. 
Signed, “Baryr.” 
; Height, 8, inches; length, 131% inches. 


312—(92) Bronze Group. Eacir anp SERPENT 
Brown patina. Mounted on an antique green marble base. The 
king of birds in a truly regal attitude certain of victory. The 
little group might be used for the arms of Mexico, which has 
the eagle seizing the serpent. This is a comparatively rare bit 
of Barye’s bronzes. 


Signed, “Barve.” 
Height, 51%, inches; spread, 87% inches. 


313—(85) Sratrep Ficure or Juno 


Antique green patina. For the Duc de Montpensier, a brother 
of Louis Philippe and uncle of the late King Leopold of Bel- 
gium, the sculptor designed a candelabrum having just above the 
foot three nude figures, the trio of goddesses who sought to gain 
the golden apple from Paris. This figure is a seperate casting 
of that of Juno. She looks down, somewhat ashamed of the 
competition. In one hand is a sceptre; under the folded robes 
on which she sits is her attendant bird, the peacock; indeed, the 
bird may be said to support the weight of the goddess—if a god- 
dess could have weight. Fine large classical lines without gross- 
ness or exaggeration; close approximation to the real antiques 
of the great Greek period. Venus and Minerva are the other 
goddesses. At the top of the shaft stand the three Graces. 
The candelabra were never shown at the Salon. 


Signed on the base, “Baryr.” 
Height, 11 inches. 


314—(32) A PantHer ReEcLINING 
Antique green patina. Fine brown patinated figure of an Asian 
panther at rest, extended on a rock. The great muscles are re- 
laxed, but the sculptor indicates them by broad modelling. He 
expresses well the big, soft pads and the wrinkles in the loose 
skin about the neck. 


Signed, “Barve.” 
Height, 4 inches; length, 8 inches. 


316 


315—(33) A Tunisian PANTHER 
1840. Brown patina. The Tunisian panther from North 
Africa has a more catlike, a less noble, head than the Asian just 
noted. Its attention has been called to something, for it pricks 
its ears, and the tail, most expressive part of all the cats big 
and little, is curling and switching to and fro. 


Signed on the base, “Baryx.” 
Height, 384 inches; length, 8 inches. 


316—(34) Aw Invian PantuHer REcLINING 
1840. Antique green and brown patina. Bagheera is the wise 
and helpful friend of Mowgli in the Jungle Book. Here we have 
Bagheera in no kindly mood, for he has been eating, and some 
part of his meal remains clutched to his breast by one broad 
paw. Fine patina, where the brown peers through the green in 
a very pleasant fashion. 


Signed, “Barve.” 
Height, 2% inches; length, 71% inches. 


317—(35) Reciinine PanrHer Horpine an ANTELOPE 
Antique green patina. Like the preceding figurine, this one 
shows an Asian panther ready to dispute its prey with any wild 
beast save the tiger. It has struck down a small antelope, and 
is taking its time before beginning its meal. Doubtless other 
panthers are present, or perhaps the vultures have approached 
too near for the offended dignity of Bagheera. 


Signed on the base, “Baryn.” 
Height, 4 inches; length, 8% inches. 


$18—(36) Bronze Group. A PantHEerR Pouncine on A CIVET-CAT 
Antique green patina. The remorseless law of the jungle de- 
livers up one flesh-eater to the other, if the one is swifter and 
stronger. A poor little civet-cat has been stalking a bird too 
intently, and has itself been stalked. There is no escape from 
that broad, soft pad armed with scimitar nails. The panther 
is In no hurry. He enjoys the wail of his quarry. 


Signed on the base, “Baryr.” 
Height, 44% inches; length, 914 inches. 


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319—(66) Haxr-sioop Horse wrrn Ratsep Heap - 


(Reduction.) Antique green and brown patina. A stallion having 
an admixture of Arab blood forms a mantel ornament for the 
lover of horses. A charming brownish patina. Under the base is 
in relief an inscription which looks like an Arabic word—perhaps 
the name of this particular stallion. Barye sometimes immor- 
talized horses and dogs for private owners. 
Signed on ‘the base, “Barve.” 

Height, 5% inches; length, 6%, inches. 


320—(67) Hatr-sLtoop Horst wit Lowrerep Heap 


Mottled-green and brown patina. A stallion of the same mixed 
breed as the smaller figurine just noted. The legs are in the 
same position, but the head is lowered and the mane is trimmed 
a slightly different fashion. 


Signed, “Barve.” 
Height; 7 inches; length, 11% inches. 


321—(65) Turkish Horse 


Antique green patina. A vicious stallion of the heavy-barreled 
breed that comes through Turkey from Central Asia. Great 
play of muscle and feeling of power. It is such studies as these 
which gave Barye the skill to make his centaur groups. The 
stallion’s mouth is open to bite, his foreleg is raised to strike. 
A splendid figure, truly classic in its combination of realism and 
ideality. 
Signed on the base, “Banrye.” 

Height, 11% inches; length, 11 inches. 


$22—(64) Bronze Group. Butt Arrackep By Bear 
1839. Antique green patina. A bull caught napping by Bruin 
has not had time to gather his hind legs under him, and rises 
with the weight of the bear on his shoulders. In such a duel the 
odds are in favor of the bull, for though bellowing with pain and 
surprise, the bull is not crippled. In a moment he will be up, 
will fling his clumsy rider, and then—woe to Bruin! Magnifi- 
cent expression of savage beast life. Fine patina. Beautiful 
contrast between the shaggy pelt of the bear and the sleck hide 


of the bull. 


Signed on the base, “Banrye.” 
Height, 5°4 inches; length, 11 inches. 


323—(63) THE Rearine Bui 
1841. Antique green patina. Episode in a combat between 
bulls. This one is rearing and turning his head obliquely, in 
order to give all the weight of his body to the thrust by which 
he hopes to disable or at least discourage his rival. 


Signed on the base, “Baryr,” 
Height, 8% inches; length, 10 inches. 


324—(62) Butt on tHE DEFENSIVE 

1841. Antique green patina. A 
bull pawing the earth and lower- 
ing his head before charging on 
some object of his hatred; another 
bull, or a dog, or a wolf, trying to 
separate a calf from the flock. In 
his anger he is beating his flanks 
with his tail. Fine dark green 
patina. 


Signed on the base, “Barve.” 


Height, 7 inches; length, 114% inches. 


325—(61) Growitine WoLF 

Green and brown patina. Large figure of a wolf standing over 
his half-eaten prey, a kid, of which he has consumed the softer 
parts. With ears, hair and tail raised, he is snarling at some- 
thing which has interrupted his meal. Tense, powerful, but per- 
fectly quiet attitude of challenge. The open mouth shows his 
long sharp teeth. One of the rarer pieces, much sought for by — 
lovers of Barye bronzes. 


Signed on the base, “Barys.” 
Height, 9%, inches; length, 15 inches. 


326—(9) Are Ripine a Guu 

Brown and green patina. Mounted on a rosso-antico base. An 
example of how an artist may use his imagination and depict an 
advance in civilization through a simple group. The anthropoid 
ape springs upon the back of that queer mixture of horse and 
deer, cow and antelope, and, holding on by mane and tail, forces 
the four-footed animal to carry the four-handed cousin of 
primitive man. Barye suggests in this group the training by 
early man of such animals as the horse and dog to do his work. 
A bold and really wonderful fancy, which came to an artist 
before Darwin and Wallace had written, when only La Marck 
had suggested the evolution of man! Observe how the ape holds 
to the barrel of the gnu with his big foot-thumbs. 


Signed on the base, “Baryr.” Impressed mark, “Barve, 2.” 


Height, 9%, inches; length, 11 inches. 


327—(37) Ticker OvERPOWERING STAG 
Reduction of the group in stone at Lyons, France. 1839. An- 
tique green patina. The tiger is shown in a characteristic act 
seeking at once to cut with his sharp teeth the jugular vein of 
his prey. The stripes of the tiger are indicated by incised lines. 
A tragedy of the jungle, shown in colossal size, but in stone, at 
Lyons, France. 


Signed on the base, “Barye.” 


Height, 6% inches; length, 12%, inches. 


318 


345 


289 
348 


343 


288 
349 


344 


ioe) 


328—(26) Jacuar STANDING 


(Reduction.) Mottled-brown patina. Most powerful of the 
cat tribe in America, the jaguar never attains the size of the 
lion and tiger, but exceptionally grows to almost their bulk. 
The Spaniards dubbed it ‘tiger.’ This is a fine brown specimen, 
a good example of the patina Barye knew how to get. 


Signed, “Barve, 1840.” 
Height, 5 inches; length, 7%, inches. 


329—(27) Jacuar Watxkine 


(Reduction.) 1840. Antique green patina. Bronzes like this 
are warrant for the statement that one has to go back to the 
early bas-reliefs on the Euphrates before one finds sculpture of 
animal forms equally powerful, simple and grand as those by 
Barye in the last century. He has never been equalled in the 
special line he pursued, neither by the Greeks nor the sculptors 
of the Renaissance. 


Signed on the base, “Banrye.” 
Height, 444, inches; length, 834 inches. 


330—(29) A Jacuar DEvourInG A CrocopILe 


1850-55. Antique green patina., One of the most terrific of all 
the animal combats sculptured by Barye is this group of jaguar 
and alligator. The effect is largely due to the marvellous spring 
of the muscles in the jaguar, the litheness of the beast combined 
with the terrible force exhibited. Only a man who knew every 
muscle and bone of the beasts from having dissected them could 
handle their forms under the skin with such mastery. This group 
is peculiarly delightful in patina. 


Signed, “Baryr.” 
Height, 34%, inches; length, 10 inches. 


331—(28) A Jacuar Dervovurine an Acovutt 


a 


1847. Mottled-green patina. Mounted on a verd-antique 
marble base. Another beautifully modelled figure of one of the ig 
great cats, the South American jaguar, which is about to feed ; 
after his kill. The victim is a timid inhabitant of the forest. 
Bronzes like this are made to feel of, as well as look at. The 
modelling responds to one’s touch. 


=_— 


Signed, “Barve.” 
Height, 2°, inches; length, 9% inches. 


$32—(25) A SteEPinc JacuaRr 


Antique green patina. This figure of a South American jaguar 
lying asleep is remarkable, not merely for the patina, but for 
the reason that Barye has indicated the rounded spots on its 
pelt by shallow, incised lines, as he sometimes showed the stripes 
of the tiger in the same fashion. 


Signed on the base, “Barye.” 
Height, 2% inches; length, 12%, inches. 


333—(24) An AtcerRtan Lioness 


Antique green patina. <A simple and majestic figure, the lioness 
stands alert, with mouth slightly open, as if growling. Lions, 
when they roar, are said to put their heads close to the ground. 
The common domestic cat also holds its lowered head in a curious 
way when caterwauling. Here we have a low growl indicated, 
not an awe-inspiring roar. 
Signed, “A. L. Barve.” 

Height, 7, inches; length, 934 inches. 


334—(23) A Seneca Lioness 


Antique green patina. 
Another dignified figure 
of a lioness brought 
from Senegal. Re- 
markable is the olive 
tone of the patina, 
which has been im- 
parted to the bronze by 
the sculptor’s skill. For 
many years Barye was 
his own bronze founder 
and finisher. 


Signed on the base, “Barve.” 


Height, 8 inches; length, 1114 inches. 


335—(22) A Lioness StanpIne 


New model. Antique green patina. Companion piece to the 
preceding, the animal having a number of slight differences in 
head, barrel and tail. Patina like that on many of the Etruscan 


bronzes found in Italy. 
Signed on the base, “Barye.” 
Height, 81% inches; length, 11 inches. 


336—(21) Two Youne-Lions at Pray 

: 1835. Bronze group. 
Mottled- brown and 
green patina. Visitors 
to the small Zoo in 
Central Park have been 
amused at times by the 
wrestling of young 
hions born in the lion 
house and now fairly 
grown. The sculptor 
has taken occasion to 
form a closely-knit and 
well-composed group of 
a similar scene. Young 
males old enough to 
show their manes are 
indulging in a playful- 
ness so strenuous that 
it differs little from a 
serious fight The lion 
whose side is being bitten thinks that fun can go too far, and 
protests with fearful snarls. Able composition, up to this time 
unsurpassed by any of the great host of beast-sculptors who have 


followed in Barye’s path. 


Signed on the base, “Barve.” 
Height, 7 inches; length, 634 inches. 


337—(17) A Ticrr Devourtne a GAZELLE 


1834. Brown patina. A tiger, having struck down and mor- 
tally hurt a gazelle, is enjoying itself by sucking the pretty 
creature’s blood, having buried its fangs in the artery of the 
neck. How closely Barye studied these creatures is shown by 


the difference he makes between the active and inactive paws of 
the tiger. Those clutching the prey have the claws well out of 
their sheaths, hooked into the flesh of the gazelle. Those on the 
hind feet are retracted into the sheath. Markings indicated by 
parallel incisions. 
Signed, “Barye.” 

Height, 4% inches; length, 121%, inches. 


338—(16) A Lion Devourtne a Hinp 


Green patina. Enjoyment 
of his meal shows itself in the 
tail of the lion, which keeps 
time to the ferocious emo- 
tions of the king of beasts. 
Splendid modelling of the 
mane. The peculiar spare 
quality of the leonine body is 
well told. Barye won early 
a very false position in the popular mind, as a person who loved 
cruel sights, because he represented the carnivorous beasts at- 
tacking and feasting on their natural prey. He lived in an age 
when England vied with France in sentimentality, and Barye 
often shocked the devotees of maudlin sentiment by presenting 
such common tragedies of the wildwood. 

Signed, “Barve, 1837.” 


Height, 5% inches; length, 121/, inches. 


339—(15) Lion Srrikine at SERPENT 
1823-33. Mottled-green patina. Barye received the decoration 
of the Legion of Honor after the French government had ac- 
cepted the model of “Lion Crushing a Serpent,” the big bronze 
that visitors of the gardens of the Tuileries in Paris will remem- 
ber near the terrace overlooking the Seine. When this big group 
was cast by the “lost wax” process and erected near the Tuil- 
eries, the unveiling was a famous event. This little bronze is not 
a reduction of the big one, but it is the same subject, somewhat 
different in pose. The lion of monument is quieter, and his left 
paw is not raised to strike as here. A lion has placed one of his 


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“aac Se cepa i 


paws on the tail of a serpent, and as it coils to strike, he gives it 
a lightning blow. The sculptor takes the moment of pause just 
before the blow falls. Wrath, disdain, energy are exhibited by 
the beast. 
Signed on the base, “Barve.” 

Height, 5 inches; length, 7 inches. 


340—(19) Ticrr WaLxkine 


1835-36. Antique green patina. One of the most splendid of the 
larger single figurines of wild beasts that came from Barye’s 
hands. The tiger advances growling and curling its tail—that 
index of excitement with all the cats. Superb modelling of mus- 
cles covered by close-lying fur. Big and simple! 
Signed on the base, “Barve,” Inscribed, “Dép-té De Lesalle.” [Mark of 
copyright. | 
Height, 8%, inches; length, 161% inches. 


341—(18) Lion Watxine 


1835-36. Antique green patina. A companion piece to the walk- 
ing tiger just noted, and in no way inferior to that wonderful 
figurine. Perhaps, by reason of his mane, the lion is more pic- 
turesque or more sculpturesque than the tiger. ‘The modelling 
of shoulder and flanks recalls the Assyrian bas-reliefs, where 
kings in chariots hunt the lion. Barye’s work challenges com- 
parison with the greatest work of the past. 

Signed on the base, “Barye.” : 
Height, 8%, inches; length, 16 inches. 


342—(20) Lion WatLkine 
New model in plaster, with terra-cotta finish. Another example 
of Barye’s lions, this time baked a little in the kiln, to fix the 
terra-cotta. Observe that the body is supported by the stump 
of a tree. The great beast has been walking, but for the mo- 
ment it appears to have stopped to growl at some approaching 
foe. 


Signed on the base, “Baryr.” 
Height, 7%, inches; length, 1714 inches. 


343—(14) Lion CrusHine A SERPENT 

Tuileries. 1832-33. Dark green patina. Reduction by Barye 
of his famous colossal group, still standing in the gardens of the 
Tuileries, Paris. French people saw an allusion to political par- 
ties in this monument of a lion placing his paw on a vicious ser- 
pent. The older classicists, who may have cared little for politics, 
but everything for Roman grandeur, were also incensed, because 
they thought that animals were beneath the dignity of large 
sculpture. Instead of striking at the serpent, as in the foregoing 
statuette, in this case the lion is more disdainful than furious. He 
shows his teeth and growls, but merely anchors the serpent to the 
spot with one formidable paw. The mane is treated in great 
masses or waves of hair. That do still other artists, for 
such broad treatment of sculpture was’ in defiance to the petty, 
hair-by-hair modelling of the industrious but commonplace sculp- 
tors of the day. Historic piece, greatly valued by amateurs. 


Signed on the base, “Barye.” 


Height, 10% inches; length, 14 inches. 


344—(10) A Sratrep Lion 
Louvre. 1836. Antique green patina. Reduction by Barye of 
his famous seated lion of the Louvre, on one side of the main en- 
trance to the Louvre from the river. Artists gave this lion the 
nickname of The Philosopher, owing to its quiet, its brooding 
look, it Sphinx-like expression. It made so good an impression 
that the government ordered another as a pendant for the other 
side of the gate, but to the astonishment of the official world, 
Barye refused. He said he would make another lion, but not a 
duplicate of ‘Le Philosophe.” The end was that the govern- 
ment had a second lion of the same size and attitude cast, but 
reversed, so that the tails come right and left as you stand be- 
fore the two otherwise identical statues. Barye protested, but 


ak: 1 eee 


it was of no avail; they stand there now. 


Signed on the end of base, “Barve.” 
Height, 1414, inches; width, 12 inches. 


345—(11) A Szratep Lion 
(No. 2.) 1841. Brown patina. The same as the foregoing, © 
namely a reduction of the colossal “Philosophe,” but in this case 
the patina is brown instead of dark green. 


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Signed on the base, “Barynz. 
Height, 1414, inches; width, 12 inches. 


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346—(138) A Sratep Lion 


Small size. Antique green patina. The popularity of this calm, 
reflective lion is shown by the number of reductions called for. 
Here is a smaller one with a green patination, with certain dif- 
ferences in the modelling of the mane. 
Signed on front of base, “Banryr.” 

Height, 6%, inches; width, 6 inches. 


347—(12) A Sratrep Lion 


Small; new model. Brown and green patina. Another variant 
in the series of seated lions, this small bronze has a fierce expres- 
sion and a mane that does not descend so far on the sides of the 
neck. The tuft at the bend of the upper foreleg is heavier, and 
there are other differences an expert eye will detect. This is an 
exceptionally fine small bronze with a peculiar patina very pleas- 
ing to the touch and sight. 
Signed on the base, “Barve.” ; 

Height, 8 inches; width, 64%, inches. 


348—(96) PornrErR anv Ducks 


Bronze; bas-relief. Brown patina. In his early years of 
struggle Barye worked for cabinet-makers who required metal 
placques to ornament clocks and furniture. After he began to 
work for himself, he continued to do some of these. Those pieces 
which are signed have become very valuable to collectors. Barye 
was the last man to indulge in the picturesque, but these reliefs 
sometimes have more of the painter than the sculptor in them. 
Among the sedge and bulrushes a pointer has stopped to let 
his master know that a bird is lying low. <A duck sails off in 
the distance. Flat, decorative treatment. 


Signed, “Banrye.” 
Height, 4144 inches; length, 534 inches. 


349—(94) Runnine Evx 

Bronze; bas-relief. Green patina. Relief for inlay in furniture 
or clock. Oaks and pines, the forest of Northern Europe, and 
an elk in mad career over rocks and fallen trees. The animal is 
modelled rather flat in order to produce a decorative rather than 
a realistic effect. 
Signed at the right, “Barye.” 

Height, 4 inches; length, 534 inches. 


350—(95) A Virernia Srac 
Bronze; bas-relief. Brown patina. Another early decorative 


bit of metallic appliqué sculpture. A running stag, fine brown 
patina. 


Signed at the left, “Baryr, 1831.” 
Height, 3% inches; length, 6 inches. 


351—(112) Mepaturon or Barye 


By A. Patey. Golden patina. Patey is one of the best of the 
modern French designers of medals. He always has an idea, and 
he carries that idea out in a dignified, handsome fashion. To 
commemorate the greatest “animalist” of modern times—per- 
haps of all time—Patey designed this medal. Barye’s firm face 
is on one side, the famous ‘Lion Crushing the Serpent” on the 
other, accompanied by the tools of a sculptor and the palm which 
indicates that Barye before he died was elected a Member of the 
French Institute. 


Diameter, 2°, inches. 


352—(101) Eacie anp Cuamots 


Bronze; bas-relief. Dark brown patina. Mounted on an olive 
plush panel and framed in black wood. Another relief for incrus- 
tation in a cabinet or a clock. An eagle has driven a chamois 
over a precipice, and has descended to make a meal of the de- 
voted beast. 

Signed at the left, “Barve.” 


Height, 4 inches; length, 534 inches. 


353—(93) Eacitre AnD SERPENT 


Bronze; bas-relief. 1824-5. Dark brown patina. Mounted on an 
olive plush panel and framed in black wood. There are eagles that 
devour little other food than serpents, but this one seems to be 
the golden eagle. He has pounced upon a large snake, and is 
ready to fight with claw, wing and beak. Placque for insertion 
in clock-case or cabinet. 
Signed at the left, “Baryr.” 

Height, 4 inches; length, 534 inches. 


354—(113) Lion Watxine 


Bronze. Bas-relief. Modern. Antique green patina. Small 
walking lion in high-relief against a wall. This belongs to the 
same idea as the famous “Lion of the Zodiac” which Barye made 
for the column that marks the site of the Bastille destroyed dur- 
ing the Revolution. The Lion of the Zodiac has a heavier jowl; 
the treatment is designed for colossal size. On the wall back of 
the lion one sees the stars between two bands, representing the 
Zodiac. Here the head and mane are not so bold. The tail is 
raised at the tip, the feet are differently placed. Meant to be 
let into the wall of a room or to decorate a large piece of furni- 
ture. 
Signed at the right, “Banrys.” 

Height, 77% inches; length, 16%, inches. 


355—Fovur Bronze Bas-RELIEFS 


Mounted on a black velvet panel and framed in ebonized wood. 
(97) <A. “Genette,”’ carrying a bird. Brown patina. 
Signed in the middle foreground, “Barye.” 


Height, 4% inches; length, 53/4, inches. 


(100) B. Virginia Hart. Brown patina. 


Signed at the left, “Bary.” 
Height, 4% inches; length, 534 inches. 


(98) C. Leopard. 1831. Brown patina. 
Signed in the middle foreground, “Baryn.” 
Height, 41% inches; length, 534 inches. 


(99). D. Puma. 1831. Brown patina. 
Signed in the middle foreground, “Barye.” 


Height, 4% inches; length, 5%, inches. 


: 


A frame of four low-reliefs modelled in a peculiar flat style in 
order to look well when let into stone or wood as decorations. 
A civet-cat carries in its mouth a foreign bird. A half-grown 
Virginia stag is pacing fast. A leopard stalks along with 
lowered head and curling tail. An American puma lifts its head 
to growl at some object in the trees or the sky. Finely simple 


~~ | -_ = | 


decorative pieces. These are all early works, at or near 1830. 


356—(89) Parr Greek CANDLESTICKS 

With antique medallions. Green patina. ‘To 
suit the taste for classic subjects so promi- 
nent under the Empire, the sculptor was arti- 
san enough to furnish candlesticks in the 
fashion. The chief decorations are medal- 
lions, in which he has followed the beauti- 
ful coins of Syracuse, with the head of a 
goddess, perhaps, Diana, surrounded by 
dolphins. 


Signed on the foot, “Baryr.” 


Height, 1014 inches. 


357—(88) Parr Trirop CaNnDLESTICKS 

Vine design; locust in relief. Green patina. A pair of candle- 
sticks in a “back to Nature” vein, which ought to have received 
the approval of Ruskin, if anything French later than the Four- 
teenth Century could please that doughty Briton. Ivy leaves, 
morning glories and other flowers, tendrils and vines, compose 
an amusing ensemble in lighter vein. Climbing up the shaft is a 
large beetle, with all its antennae and fringed legs, complete and 
in the round. Grim Barye was caught in a sportive mood. 


Signed underneath the foot, “Barve.” 
Height, 12%, inches. 


358—(4) Cuarues VII rue Vicrorious 
Equestrian group. (Proof No. 10.) 1838. Brown patina. 
Statuette calculated to enlist the sympathy of the royalists who 
had their innings in France after the exile of Napoleon. Charles 
VII is held in honor for his success in clearing the soil of France 
of foreign oppressors. Armor and horse trappings are studied 
from the miniatures of the period. 
Signed on the base, “Baryr, 1840.” Impressed proof mark, “Baryr, 10.” 


Height, 1184 inches; length, 10 inches. 


359 


360 


359—(6) THesrus Ficutinc CENTAUR 
Bronze group, 1850. Antique patina. Originally this group 
was called “Lapith and Centaur,” but as the sculptor worked at 
it he particularized so far as to decide which man and which man- 
horse was intended. The man is Theseus, the centaur Bianor. 
A Roman poet makes Nestor, telling yarns to the warriors before 
Troy, describe the wild work that occurred at a certain wedding 
in Thessaly to which the Lapiths invited the Centaurs. After 
the ruction began, ‘Theseus leaps on the back of tall Bianor, 
fixes his knees in his ribs, and, holding his long hair, seized with 
his left hand, shatters his face and his threatening features and 
his very hard temples with the knotty oak.” Barye illustrates 


this earliest of forerunners of Donnybrook Fair. With his left 5 
hand he presses Bianor’s head back, and with a knobbed stick _ 
hauls off to crack his skull. For some reason, perhaps to get the “as 


space under the horse’s barrel filled, the sculptor has placed a 
drapery under Theseus. It flows down to the rocks and passes 
between the hind legs. This is one of the most magnificent and 
most valued of all Barye’s groups. The original was bought by 
government 1850, and after being cast in bronze was sent to the 
Museum at Le Puy. 


Signed on the base, “A. L. Bary.” 


SS 7 


Height, 13 inches; length, 1514 inches. 


360—(8) Lapy on Horsesack 

Equestrian group. In a fancy riding costume called in French 
“L’?Amazone.” Golden brown patina. Mounted on a ver-antique 
marble base. Modelled about 1837, this equestrian statuette rep- 
resents a lady in an “amazone” or riding dress fashioned after 
some style of the Elizabethan age, a revival in 1830 of certain 
points in an ancient mode of millinery. The beret with feather, 
the high shoulders, slashed sleeves, corsetted body and long chain 
about the waist, show the revival of an obsolete style. The horse 
with diminutive head and the saddle are old style also. The 
placidity of the lady, her air of stately grandeur and general 
appearance of “good form,” must have made this statuette at- 
tractive to the class of buyers whom Barye had to please, those 
who hunted and rode and hked bronzes of deer, dogs and horses. 
Signed, “Barve.” 

Height, 15 inches; length, 131% inches. 


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361—(87) Pair GREEK CANDELABRA 


Surmounted by a gilt stork. Brown patina. Each for ten 
candles. A pair of elaborate candlesticks inspired by discoveries 
at Pompeii and Herculaneum, more Roman in taste than Greek. 
The chains are meant to carry extinguishers. Small fine gilt 
storks are used as decorations in place of the topmost candle. 
Palmetto ornaments, chimera heads and masks alternate with 
other Pompeiian motives. 


Signed at base of column, “Barye.” 
Height, 28 inches. 


362—(5) NapoLEon 


Bronze equestrian figure. Designed for the City of Grenoble. 
Modern. Antique green and brown patina. Barye was to have 
had a commission for a large equestrian monument to Napoleon 
the Great from the city of Grenoble. This represents a model 
he made for that work. Barye heard that Mercier had been 
commissioned to make a design for the Napoleonic monument in 
Grenoble; this angered him so, that he threw up the commission ‘ 
at once. It is Bonaparte, First Consul, rather than the Em- : 

i 


peror Napoleon, whom he has modelled here. Another equestrian 
statuette represents Napoleon still earlier, when he was winning 
battles in Italy for the sordid crowd that was running the govern- 
ment in Paris. Had he carried out this monument, the final 
statue might have been different from this model. 
Signed on the base, “Barve.” 

Height, 18 inches; length, 1334 inches. 


363—(31) Ticrr Devourine Gavia. 
Bronze group. (Reduction.) 1831. Brown patina. The 


gavial is a crocodile of the Ganges, and here we have the tiger 
as an avenger of the many human beings killed by the crocodile. 
Peculiar is the curling tip of the tiger’s tail. The crocodile is 
almost helpless, because it has been seized in such a way that it 
cannot use its tail as a weapon, while its armored neck does not 
permit it to turn sufficiently to bite its powerful foe. Large man- 
tel ornament very well composed to preserve the outline. Under 
the right foreleg of the tiger the sculptor has introduced a tor- 
toise, representing the water, which is the usual abode of the 
great lizard. The crocodile has been caught, however, on dry 
land. 
Signed on the base, “Barve.” 

Height, 74, inches; length, 20 inches. 


364 


365 


366 


364—(3) Gastron bE Forx 


Equestrian figure. 1838. Antique green patina, mounted on a 
carved teakwood and plush top stand. Elaborate housings for 
the horse, which bear in low-relief the armorial bearings of the 
noble Gascon, fluted body armor over chain under-shirt, bras- 
sards, cuissards, gambords, long spurs and finally a long trun- 
cheon—all these points in the war-dress of a warrior and his 
steed give great interest to this statuette. It is Gaston de Foix 
without a helmet, wearing his hair long. The statuette belongs 
to a series made by Barye during the thirties and forties, to 
please the nobles and royalist party generally. 

Signed on the base, “Barys.” 


Height, 1334 inches; length, 1114 inches. 


365—(1) Aras Kitzite a Lion 


Bronze group. Antique green patina. On ebonized wood stand. . 
Spirited group of Algerine Arab spearing a lion while his horse a 
rears with fright. The calm face of the rider contrasts with the 
open-mouthed excitement of his mount and the helpless fury of 

the lion. Good composition and well balanced masses. This 

statuette group is meant to be seen from one side, the other 
perhaps reflected in a mirror. 

Signed, “Barye.” | 


Height, 15 inches; length, 14%, inches. 


366—(7) THeseus FicgotiInc THE MINOTAUR 

Bronze group. (Proof No. 5.) Golden brown patina. 
Barye hardly ever reached a higher flight in his human figures 
than he did in this celebrated group of Theseus despatching the 
monster Minotaur in the labyrinth of Minos in Crete. <A _ bull- 
headed monster with horns would naturally attack with his head 
down. But that would not do from the artistic point of view. 
Instead, Barye imagines that he thinks he can wrestle with the 
Athenian youth, and down him by his enormous muscles. It is 
brains against brawn, man against half-man. So he puts a sword 
in the hands of Theseus, whom he models like the primitive statue 
of Apollo found on Delos. He is very calm, very much at ease, 
quietly choosing the spot where the fatal blade shall enter. This 
group was begun in 1841, finished in 1846, and sent to the Salon 
of 1851. 


Signed on the base, “Baryr.” Impressed proof mark, “Bary, 5.” 


Height, 17%, inches; width, 124%, inches. 


368 


367—(2) A Tarar Warrior CHeckine His Horse 


Equestrian Figure. 184—. Antique green patina. Mounted 
on a black marble plinth and an elaborate bronze base by Barye. 
Strong, concentrated action is seen in the powerful horse reined 
back by its rider, which is known as “Tatar Warrior Checking 
His Horse.” Whether a Tatar or not, this Oriental-looking 
knight has pulled his steed on its haunches. The figure and base — 
are beautifully patinated. It rises from an elaborate bronze 
stand designed by Barye himself, the whole composition showing 
how carefully he calculated the taste of the day, which ran power- 
fully to Oriental scenes in painting. 
Signed, “Barye.” : . 
Height, 15 inches; width, 14% inches. 


368—(30) PantTHeErR Seizine a Stac 


Antique patina. Mounted on a rosso antico marble base, and tall 
ebonized pedestal with revolving top. Large group for the draw- 
ing-room, meant to be viewed from all sides. A panther has 
caught a stag in such a fashion as to paralyze its efforts to escape. 
It cannot use its horns, and the creature’s weight forbids the 
stag throwing it off by flight. The enemy is searching for the 
artery, which if severed will finish the struggle. Magnificent 
modelling, each animal characteristically handled. Finest patina. 
Remarkable composition and arrangement of the masses in the 
two figures. Barye himself arranged the stand of rosso-antico 
marble. 


Signed on the base, “A. L. Baryg.” 


Height of bronze, 141%, inches; length, 22%, inches. 


369-—(75) Parr Anprrons anp ApsusTABLE:- FENpER—Two Dacus- 
HUNDS 


Antique green patina. Our kindly friends the badger hounds 
are the watchers by the fire at the ends of this ornate fender. 
One dackerl is of the rough-haired variety, the other of the 
smooth. Handsome guard for a broad fireplace where wood is 
burned. 


. 
| 


Signed, “Banrye.” 
Extends 5 feet; height, 11 inches. 


370—Portratr or Bary: 


Photograph after a portrait by Léon Bonnat, 1885. The por- 
trait painter Bonnat, a friend of Barye, made a likeness of his 
friend in oils some five or ten years after the sculptor’s death. It 
was painted for Mr. Walters, and is now in the Walters Gallery, 


Baltimore. This is a photograph of the original by the Braun 
process. 


371—Anvrorneé Louis Barre 
French. 1795-1875. Pencil drawings. Five sketches of wild 
and domestic animals from life; a meagre survival from the in- 
numerable mass of drawings Barye made before undertaking 
figures and groups. Each sketch carries the Barye stamp in red. 


A 
ANTOINE LOUIS BARYE 


STAG WALKING 


Water-Color 


LIkE his friend, the romantic painter Delacroix, the sculptor 
Barye frequented such parks near Paris as might serve for a 
study of animals in a state of freedom. He drew animals and 
birds in charcoal and water-color ; he painted in oils, and owing 
to his simple and straightforward nature it turned out that his 
pictures, with or without animal life, became valuable to 
amateurs. ‘This is one of his water-colors, made without any 
intention to sell. When in later years demand arose for his 
pictures Barye usually signed them, as in this case. . 


Signed at the lower left, “‘Baryr.”’ 


Height, 5% inches ; length, 8% inches. 


B 
ANTOINE LOUIS BARYE 


ROLLING TIGER 


Watcer-Color 


SIBERIA, the Panier or Northern India may be meant by the 
hilly, sandy landscape which the sculptor may well have 
painted in Fontainebleau Forest. An enormous tiger is 
enjoying the sunshine. Lying on its side it has twisted the 
forepart of its body so as to have its shoulders on the ground. 
There it yawns, and stretches its great padded forepaws in 
deep content. Only the elephant can seriously disturb a 
tiger's siesta; 1t does not fear the natives. Broad handling 
like the bronze figurines. 


’ 


Signed at the left, ““Barye.’ 


Height, 8 inches ; lengih, 1134 inches. 


left behind in some convenient. cave. § 
sounds of bird and beast; perhaps she is « 2 
time the antelopes come in from the veldt 
nearest water. Good effect of meno 
quiet, of alert senses. 


Signed at the lower ae . Barve.” 


Height, 9% inches, 


D 
ANTOINE LOUIS BARYE 


LION RECLINING 


Water-Color 


Lions have always been remarkable for their repose compared 
with other big cats. That quiet and the big mane and head 
have given it a reputation for nobility of nature as well as 
majesty of pose. ‘To this is due the many fables of the 
‘*orateful lion’’ and the preference shown for this beast in 
heraldry. A big male reposing after the hunt in a landscape 
which would not be out of place in the Euphrates Valley or the 
South African veldt. 


Stgned at lower. 


. J . . 
Height, 92 inches; length, 13 inches. 


K 
ANTOINE LOUIS BARYE 
LEOPARD AND SNAKE 


Water-Color 


A TRAGEDY of the wilds of Central America, the duel to the 
death between the largest cat of the New World, called to this 
day the ‘‘tiger’’ by the Spanish Americans, and the largest 
known snake in the world, the Python. The jaguar’s cautious 
approach is due to the fear of getting caught in the constrictor 
folds of the giant serpent. He is bound to catch him behind 
the head and break his back before he can be entangled in the 
Python’s coils. 


. . 66 s 
Signed at the lower right, © Baryr.”’ 


Height, 11% inches; length, 1634 inches. 


k 
ANTOINE LOUIS BARYE 


TIGER RECLINING 


Water-Color 


~ KIpLinG’s villian (in the account of Mowegli’s adventures in the 
jungle) lies at rest, contented with the results of the last foray 
on the herds of the Bengalese farmers. The royal tiger has no 
smile on its face, although it may have incriminating evidence 
inside its beautifully variegated hide. Barye was a colorist in 
water-colors and oils, as he was in his bronzes, the patinas of 
which are singularly varied and handsome, as one may observe 
in any large collection of his figurines, like those at the 
Corcoran in Washington or the Walters Gallery in Baltimore. 


a 66 as 
Signed at the loner left, Barve. 


Height, 12% inches; length, 1934 inches. 


G 
ANTOINE LOUIS BARYE 
FONTAINEBLEAU 


View in Fontainebleau Forest painted in oils as a background 
for wild life, but no figure has been inserted. At Barbizon, 
on the outskirts of the Forest, the sculptor had as friends 
Rousseau, Millet, Diaz, and on occasion, Corot, friends who 
saw what is big and simple in Barye’s preparations for sculp-- 
tured work. When modeling a wild beast, Barye liked to 
have before him a gloomy, savage landscape like this to give 
the key to his mood. 


Signed at the loner left. 


Height, 6 inches, length 12 inches. 


H 
ANTOINE LOUIS BARYE 


WOLF CHASING A. STORK 


THE Forest of Fontainebleau offers here and there tracts of 
comparatively wild country with tumbled rocks and _ trees 
which owe nothing to man. ‘Thither Barye turned for back- 
grounds when he wished to paint wild animals, even animals 
belonging to Africa or America. ‘The sinister sky and rock 
masses of this oil painting suit very well the hunting ground 
of a panther. He has bounded upon a white crane or stork, 
but the latter has espied the lurking cat and is off on its 
broad wings, leaving his enemy looking foolish. 


¥ ee s 
Stamp on back, ~~ Baryer.’ 


Height, 4% inches ; length, 10% inches. 


BOOKS AND CATALOGUES 


RELATING TO ANTOINE LOUIS BARYE 


372—CaTALOGUE DES OEUVRES DE ANTOINE Louis Barve 


Exposées a l’Ecole des Beaux-Arts, Paris. Imprimerie de J. 
Claye, 1875. 12 mo.; half morocco. 


373—ANTOINE Louis BaryE 


From the French of various critics. 8 vo.; half morocco. 


374—Les Artistes CELEBRES A. L. Barre 
Par Arséne Alexandre, Paris. Librairie de Art, 1889. Pro- 
fusely illustrated. 8 vo.; half morocco. 


375—CaTALOGUE DES OruvrES DE BARYE 
Exposées a l’Ecole des Beaux-Arts. Notice par M. Eugéne Guil- 
laume, member de I|’Institut Paris Maison Quantin, 1889. 8 vo.; 
full Levante. 

376 


Lirr anp Works oF A. L. Barve 


By Charles DeKay, Barye Monument Association, 1889. Pro- 
fusely illustrated. Quarto; full Levante. 


377—Rocer Bauuv, L’OrEuvRE DE BArye 
Précédé d’une introduction de M. Eugéne Guillaume, Membre de 
lIlustitut Ouvrage. Accompagné de vingt-quatre grandes 
planche hors texte en heliogravure et de nombreuses vignettes 
dans le texte. Paris, Maison Quantin, 1890. Folio; cloth gilt. 


378—Turee PAMPHLETS 
The Art Journal, January, 1888, containing an illustrated 
article on Barye, by W. E. Henley. The Studio, New York, 
December, 1889, containing an article on the Barye Monument 
Loan Exhibition, by Clarence Cook. Catalogue of Bronzes, by 
Barye. Loan Exhibition at the Fine Arts Society Building, 
New York, February, 1893. 


— | ee ee ee ee os 


379—Four CATALOGUES AND PAMPHLETS 


Les Articles Célebres A. L. Barye. Par Arsene Alexandre. Pro- 
fusely illustrated. Paris, 1889. Peintres and sculpteurs Con- 
temporains, Artists décedés de 1870 4 1880, Barye. Notices par 
J. Claretie. Portraitgravés 4 Veau-forte par L. Massard. 
Institute de France, Académie des Beaux-Arts.  Discours 
prononcés A l’Inauguration du Monument Elevé a la Mémoire de 
Barye a Paris, sur le terre-plein du pont de sully, Le Lundi, 18 
Juin, 1894. La Collection Thomy-Thierry au Musé du Louvre. 
Catalogue descriptif et historique. Par Jean Guiffrey. Accom- 
pagné de 15 reproductions. Paris, 1903. 


DRAWINGS AND DRY-POINTS 


No. 380 
AUGUST LANCON 


FRENCH 
LION AND PREY 
Pen-and-Ink and Wash 


From a rocky fastness in the desert a lion has sprung suddenly on a 
passing man. He has felled his prey, and now stands over him, his 
great paw on his back, his massive Jaws just closing on his wretched 
victim’s head. 


Signed at the lower right, “A Lancon.” 
Height, 6% inches; length, 81% inches. 


No. 381 
MARY CASSATT 
AMERICAN (Contemporary ) 
WOMAN WITH. CHILD 
Dry-Point 


A smAuu outline dry-point of a French woman sitting holding a baby 
about a year old in her arms. 


Signed at the lower right, “Mary Cassarr, No. 2.” 
Height, 8 inches; width, 5 inches. 


No. 382 


MARY CASSATT 
AMERICAN (Contemporary) 


SKETCH OF MARY 
Dry-Point 
A pry-pornt of a little girl some ten summers old, seated in a roomy, 
high-backed arm-chair. A large sunbonnet, under which the long hair 


blows tumultuously, is on her head, her hands are clasped on her lap, 
and her face is slightly turned to the right. 


Signed at the lower right, “Mary Cassatt, No. 8.” 


Height, 1114 inches; width, 914 inches. 


No. 383 


MARY CASSATT 
AMERICAN (Contemporary) 


WOMAN WITH CHILD (SEATED) 
Dry-Point, Printed in Colors 
A woman sits in a large wooden arm-chair, holding a small child on her 
lap. She is dressed in a blue gown with large puffed sleeves, over which 
is a yellow flowered apron. Her head is inclined forward to watch the 


child’s countenance, as with its chubby hands it reaches for its mother’s 
outspread fingers. 


Signed at the lower right, “Mary Cassatt.” 
Height, 91, inches, length, 12 inches. 


No. 384 


MARY CASSATT 
AMERICAN (Contemporary) 


ON THE FERRY 

Dry-Point, Printed in Colors 
A scene on a ferryboat crossing the Seine. A nurse holds a baby on 
her lap, while the mother, in a brown dress and wide hat, sits beside 


her. Through the windows one sees the broad stretch of the river 
and the arches of two bridges in the distance. 


Height, 13°84 inches; width, 1014 inches. 


No. 385 


MARY CASSATT 
AMERICAN (Contemporary ) 


WOMAN AND CHILD 
Dry-Point, Printed in Colors 


Tue scene shows a small pond set in green meadows and overshadowed 
_ by tall trees with dense foliage. In the foreground appears the head 
and shoulders of a woman, who supports on her knee a small naked 
boy with curly yellow hair, whom she is drying with a towel after a dip 
‘in the water. She wears a yellow robe over a pink undergarment. 
Her dark hair is drawn back and dressed in a plain knot behind her 
head, and her eyes are half closed as she gazes with maternal fondness 
at the child’s countenance. 


Signed at the lower right, “Mary Cassarr.” 
Height, 12% inches; length, 16 inches. 


A SERIES OF WATER-COLORS AND WASH- 
DRAWINGS, BY JOHN STEEPLE DAVIS 


Purchased some years ago in Paris by the late Cyrus J. Lawrence, Esq. 


No. 386 


A PRIEST 
Water-Color 


Berore the iron-bound door of an orphanage a priest in shovel hat and 
soutane girt about his waist has taken his flat-footed stand. His por- 
cine face is wreathed in an expectant grin as he prepares a pinch of 
snuff from the box which he holds in his hand. Behind him, in the 
thickness of the wall, is an iron grill, behind which sits a gentle-faced 


nun watrhing him. 
Height, 101, inches; width, 7% inches. 


No. 387 


STILL LIFE 
Water-Color 
On a table covered-with a cloth of old-gold lie a number of apples, some 
a bright red, others still green or turning into golden yellow. The 
corner of an envelope is shown, with a bright blue stamp. The light 


proceeds from the upper left, and the pallid glow casts deep shadows 
on the table. 


Signed at the lower right, “Jno. Strerte Davis, 83.” 


Height, 8 inches; length 16 inches. 


No. 388 


VILLAGE POSTMAN 
Wash-Drawing 


Tuer postman, a village institution without a doubt, has just rung at a 
garden gate, and now stands reading the address on a letter. He is a 
veteran of the wars, as shown by the medals on his breast. He carries 
an umbrella beneath his arm, and a pair of enormous spectacles gives 
a preternaturally wise expression to his old face. 
Signed at the right, “Davis, Paris, ’75.” 

Height, 11 inches; width, 8% inches. 


No. 389 


THE GOAT HERD 
Wash-Drawing 
Brrore a narrow doorway the milkman has driven his herd of milch 
goats. They stand on the sidewalk with full udders, while their mas- 


ter draws a cup of milk for his customer, who stands, pitcher in hand, 
leaning against the doorway. 


Signed at the lower right, “J. S. Davis. Mixicrt Goats.” 
Height, 8% inches; length, 11 inches. 


— 


No. 390 
MILL OF DURMOIS 


_ Wash-Drawing 


On a wild hillside, clothed with trees, the ruinous form of the old mill 
stands spectral and deserted. Erected early in the Seventeenth Cen- 
tury, this was one of the points from which the Prussians bombarded 
Paris in 1871. Its skeleton arms stand out like gaunt fingers, and 
its rotting timbers are falling to pieces. The sky is covered with a 
wrack of clouds blowing swiftly across the face of the full moon. 


Height, 10%, inches; width, 714 inches. 


No. 391 


STILT DANCERS 
Wash-Drawing 


Ar THe corner of a narrow alley an organ-grinder is busily turning out 
a tune, while two girls, mounted on long stilts strapped to their feet, 
dance in time to the music. They wear short skirts, showing their 
legs to the knee, and low-cut bodices, leaving their neck and arms bare 
as they sway in the dance, bending their bodies this way and that on 
their insecure perches. 


Signed at the right, “J. S. Davis.” 
Height, 11 inches; width, 81, inches. 


No. 392 
Avenue 


MARDI GRAS, BOIS DE BOULOGNE 
W ater-Color 


A smart carriage rolls along the roadway, a dainty Parisienne in a 
short, yellow dress lolling luxuriously in the back seat, her legs crossed 
in indolent repose as she holds a domino before her eyes, her other 
hand holding a lighted cigar. Equestrians pass in the background, 
and against the blue sky the outlines of trees are faintly suggested. 


Signed at the lower right, “Davis, *78.” 
Height, 81/, inches; length, 11 inches. 


No. 393 


WANDERING BASKET-MENDER 
Sepia 


BesipE the wall of a small whitewashed cottage an itinerant basket- 
mender is seated, his tools beside him, a basket held between his knees. 
The window of the cottage is open, and an old woman in a spotted 
cotton dress, her head bound in a cloth, leans out, holding an open 
purse in her hand. The man raises a face fringed with a shaggy beard 
and a leonine head of hair as he returns her change to his customer. 


Signed at the right, “J. S. Davis.” 
Height, 11 inches; width, 8% inches. 


No. 394 


WAYSIDE SHRINE 
Water-Color 


A SMALL case containing an image of the Virgin hangs high upon a 
tree by the wayside; crosses and wreaths, the offerings of a pious 
peasantry, are piled around the trunk of the tree, which is inscribed 
with a simple prayer. Behind, the trees grow thick, the blue of a 
summer sky shining here and there through the interstices of the 
branches. 


Signed at the lower right, “Davis.” 


“QO douce Meye priez pour Hux.” 
Height, 114%, inches; width, 9 inches. 


No. 395 


BO URGOGNE—“DANS LES VIGNES” 
Wash-Drawing 


Tue grape harvest in fair Burgundy is in full swing, and the vine- 
yards are full of women picking with busy fingers. A woman with a 
laden pannier on her back advances in the foreground, and behind her 
the heads of other pickers show above the stumpy vines. 


Signed at the lower right, “J. S. Davis.” 
Height, 101, inches; width, 8% inches. 


Fe 


No. 396 


LE TAMBOUR DU VILLAGE 
Wash-Drawing 
Tue village crier has just beaten his side drum to attract attention, 
and now, with wide open mouth and important gesture, bellows forth the 
notices from a slip of paper in his hand. His white coat, with its row 
of medals, his military hat on one side of his head, and his enormous 


moustache, give him an air of importance somewhat spoiled by the 
enormous wooden sabots with which his feet are shod. 


Signed at the right, “Davis, Paris, ’78.” 


Height, 11 inches; width, 81%, inches. 


No. 397 


NEWS STAND, PARIS 
Wash-Drawing 
AN ELDERLY gallant in top hat and long overcoat has stopped at the 
newspaper kiosk to make a purchase from the pretty proprietress. He 


holds his umbrella between his knees and bends forward in a graceful 
bow as he searches his pocket for the necessary change. 


Signed at the lower right, “Davis, Paris, ’78.” 
Height, 101%, inches; width, 81, inches. 


No. 398 
BLANCHISSEUSE DE FIN 


A rrim little French girl emerges from the laundry bearing a mass of 
snowy linen high on her shoulders. Through the doorway behind her 
another woman can be seen in the gloom, bending busily over her iron- 
ing-board. 
Signed at the right, “Davis, Paris, 78.” 

Height, 11 inches; width, 81% inches. 


No. 399 
COURTYARD TROUBADOUR 


Wash-Drawing 
In THE shadow of a dark entry a sad-faced troubadour in a seedy frock- 
coat twangs a solemn guitar, as he mouths forth his appeal, “Jette moi 
done les clefs, pour l'amour de Dieu.” His old-fashioned top hat 


stands on the pavement, at his feet, and a rivulet of water gushes from 
a standpipe in the wall. 


Signed at the right, “Joun S. Davis.” 


Height, 11 inches; width, 8% inches. 


No. 400 
WATER-CART 
Wash-Drawing 
A cLumsy watering-cart has been driven into a pond, the fine white 
horse standing shoulder deep in the water, which the carter dips out 


with a pail. In the distance another cart is being hauled up the bank, 
and a horse appears among the trees. 


Signed at the lower right, “Davis, Paris.” 


Height, 101%, inches; width, 81%, inches. 


No. 401 
LE LAVOIR 
Wash-Drawing 
Ty rue wash-houses moored alongside the bank of a quiet river, a crowd 
of laundresses are busily beating the linen with short wooden clubs. 


On the bank a clump of trees and the spire of a graceful church stand 
out against the sky line. 


Signed at the lower left, “Davis, Paris, ’78.” 


Height, 8% inches; length, 11 inches. 


es 


No. 402 


CAB STAND, PARIS 
Wash-Drawing 


THE scene shows a wide pavement in Paris, with a small kiosk in the 
foreground. A row of fiacres is drawn up in the moonlight, the cabbies 
slumbering on their perches. A sergeant-de-ville is addressing an in- 
ebriated wayfarer, and in the distance the dome of a large building 
shows hazy in the uncertain light. 


Signed at the lower left, “Davis, Paris, ’78.” 
Height, 101% inches; width, 81% inches. 


No. 403 


THE TOILET 
Water-Color 

Own a small baleony built on the roof of a house a young lady in disha- 
bille is completing her toilet, her_arms raised to the pile of dark 
brown hair on her head. An awning has been spread to keep off the 
sun’s rays, and a few plants in full bloom are ranged round the iron 
railings. 

Signed at the lower right, “J. S. Davis, Paris, °77.” 


Height, 114%, inches; width, 9 inches. 


No. 404 
FRENCH (1845- _)- 
SHANTY TOWN 


Etching Printed in Colors 


Ow 4 low hill covered with a sparse growth of grass, a wretched horse 
looks over a desolate landscape. A squalid old woman drags a sack to 
a rubbish pile beside a rickety fence, and behind her are outlines of 
squalid shanties. ‘The scene extends over a scarred and barren coun- 
try, past a large building to a factory belching smoke in the distance 
against the background of a ridge of low hills. 


Height, 7 inches; length, 8 inches. 
AMERICAN ART ASSOCIATION, 


Managers. 


Tuomas E. Kirpy, 


Auctioneer. 


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